We found 2247 price guide item(s) matching your search

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.

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.

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

Veronese figure of Jesus with some children, Art Nouveau style clock and another religious figure

LTP Manjusri (Sri Lankan 1902-1982 - Columbo '43 Group): 'At The Palace' pencil rubbing etching signed with initials in pencil 20cm x 40cmNotes: LTP Manjusri was a pioneering figure in modern Sri Lankan art, known for his unique blend of traditional Buddhist themes and contemporary techniques. Born in 1902, he initially trained as a scholar in Sinhala, Pali, and Buddhist philosophy before discovering his passion for painting in Shantiniketan, where he met Nandalal Bose. A founding member of the Colombo '43 Group, Manjusri’s work—spanning temple murals, original paintings, and etchings—reflects his deep cultural and religious roots. His contributions were internationally recognized, with exhibitions in London, Vienna, and New York, and works held in major collections including the New York Public Library and the Horniman Museum. In 1979, he was honored with the Ramon Magsaysay Award and an honorary doctorate from the University of Peradeniya.

A calligraphic folio in naskh script,  Signed Muhammad Shafi’ al-Tabrizi, dated AH1237/1821AD, Black ink on paper, 8ll. of black script within clouds on gold field, laid within floral borders ruled in gold, blue and red, wide blue margins with gold floral decoration, buffed pink, ight blue and green scalloped medallions and cartouches above, below, to side and corners, the reverse with a loose inscription in black ink, framed and glazedpanel 14.5 x 7.2cm., 27.2 x 18.2cm. visible, 32.6 x 23.8cm. framedFootnotes: The scribe Muhammad Shafi' al-Tabrizi, son of Muhammad 'Ali is described by Mahdi Bayani as a first-class Tabrizi calligrapher of naskh whose masterly in writing had no equal among his contemporaries. His recorded works, which are mainly religious books, are dated between 1802 and 1846 and provide information on his life: he was from Surkhab, a district of Tabriz, and he wrote in the style of Ahmad Nayrizi. See, Bayani et al, The Decorated Word, The Nasser D. Khalili Collection of Islamic Art, vol.IV, Part Two, 2009 cat.15.Condition Report: The gold decoration of the margins and borders have dulled appropriate to age. Some light staining. 

Exquisite hand-painted porcelain plaque depicting Madonna and Child with Saint John, encased in a decorative shadow box frame. The finely detailed painting captures the serene expressions and rich hues reminiscent of Renaissance religious artwork, highlighted by delicate brushstrokes and subtle shading. The circular porcelain plaque is adorned with an elaborate gilt metal filigree mount featuring scrolling floral motifs, adding a regal presence to the composition. Housed in a deep black shadow box with a burgundy velvet-lined interior and glass front, preserving its beauty while enhancing its display. The reverse features a wooden backing with hanging wire for wall mounting. A remarkable piece of devotional art, ideal for collectors of religious iconography or 19th-century European decorative arts.Issued: c. 19th centuryDimensions: 14.5"L x 14.5"HCondition: Age related wear. A few cracks to the gilt frame.

A powerful limited edition porcelain sculpture by Laszlo Ispanky, this figurine captures the biblical figure Moses in a moment of divine authority, holding the tablets of the Ten Commandments inscribed in Hebrew. Hand-painted details emphasize the texture of the flowing robe, lifelike arms, and expressive face. This intricately sculpted piece is marked Ispanky Porcelains, Made in USA, and is part of a limited edition of only 400. A striking and spiritual statement piece for collectors of religious art. Measures approximately 13.25"L x 12.75"H.Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

"Untitled" - FRANCIS NEWTON SOUZA (1924-2002), Ink on Paper.This work captures a deeply personal and expressionistic portrayal of Christ. Rendered in Souza’s line work, the central figure of Christ appears etched with vein-like tree branches across his torso, merging the organic with the spiritual. Behind him rises a stark, angular cathedral—geometric and towering—contrasting with a gnarled, bare tree that adds to the somber emotional tone. The stark black ink against aged paper evokes themes of suffering, redemption, and introspection. Signed Souza in the lower right.Francis Newton Souza (1924–2002) was a pioneering Indian modernist and the founding member of the Progressive Artists’ Group (PAG), established in 1947 in Bombay. Born in Goa and raised in a strict Catholic environment, Souza’s work was deeply influenced by themes of religion, eroticism, conflict, and existential angst. He studied at the Sir J.J. School of Art but was expelled for his rebellious attitude—an act that foreshadowed the nonconformist path he would take throughout his life and career. His early move to London in the late 1940s placed him at the heart of the post-war European art scene, where he achieved critical success and became the first Indian artist to gain international recognition in the West.Souza’s accomplishments are as radical as his work. In 1955, he signed with Victor Musgrave's Gallery One in London, and in 1959, his autobiography Nirvana of a Maggot was published to acclaim. His art was exhibited at the Tate Gallery (1955) and later became part of the collections at institutions such as the Victoria and Albert Museum and the National Gallery of Modern Art in Delhi. He received the Padma Bhushan posthumously in 2015. Known for his bold lines, distorted figures, and raw emotional content, Souza’s art was confrontational and unapologetically personal. He challenged religious dogma, societal hypocrisy, and colonial legacies, leaving behind a powerful and provocative legacy in Indian and global modern art.Approximately 54.5 x 35.5cmProvenance: Private collection from a distinguished USA collector.

Ca. 400 - 300 BC. A marble stele carved in low relief with a scene of a Thracian horseman advancing right, his right hand raised as if holding a spear. The horse is shown in profile with an arched neck and bent legs, suggesting motion. The composition is framed within a raised border.For similar see: A Sakellariou, The Cult of Thracian Hero. A Religious Syncretism Study with Deities and Heroes in the Western Black Sea Region, Thessaloniki 2015, f. 61.Size: 150mm x 110mm; Weight: 1.1kgProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 400 - 300 BC. A marble stele carved in low relief with a scene of a Thracian horseman advancing right. The rider wears a waving cape that billows behind him. The horse is shown in profile with an arched neck and bent legs, suggesting motion. The composition is framed within a raised border.For similar see: A Sakellariou, The Cult of Thracian Hero. A Religious Syncretism Study with Deities and Heroes in the Western Black Sea Region, Thessaloniki 2015, f. 61.Size: 130mm x 110mm; Weight: 455gProvenance: Property of a London gallery; previously acquired at the art market in Vienna; formerly in an Austrian collection formed prior to 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Robin Symes (British, 1939-2023)Art sketchbook, circa 2004-05Colour pencil, ink, graphite pencil & more on paper To include sketches of religious icons, portraits of famous figures such as Frida Kahlo, still life scenes, studies after Picasso, erotic & nude scenes, studies of animals etc; three-quarters full.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Two art sketchbooks, undatedColour pencil, graphite pencil & more on paper To include sketches of religious icons, still lifes, historical characters, a watercolour satirical sketch of Camilla & Prince Charles' wedding, a study of popular figures such as Diana Ross & Mahatma Gandhi, mythological & classical scenes.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Folder with drawings and sketches, 2015Watercolour, ink, pencil & other mediums To include sketches of religious icons, still lifes, classical scenes, historical characters, mythological, etc.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Two folders of original drawings / sketchesColour pencil, graphite pencil & more on paper To include sketches of sporting scenes, still lifes, military depictions etc, nude & erotic scenes, religious studies incl. a signed portrait of Jesus Christ.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Art sketchbook, circa 2013-14Colour pencil, graphite pencil & more on paper To include sketches of still life scenes, male erotic nudes, classical & religious iconography and imagery, still life studies; sketchbook near full. Measures approx. 43cm x 30cm.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Art sketchbook, 2003Colour pencil, graphite pencil & more on paperSigned & dated to front pastedown To include sketches of religious icons, still lifes, historical characters, mythological, classical & genre scenesRobin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), GONDOLAS acrylic on board, signed, titled versoframedimage size 75cm x 81cm, overall size 93cm x 98cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

A beautifully hand-painted religious icon titled "Virgen de Belen", signed by Mendoza. This artwork features an exquisitely detailed depiction of the Virgin Mary, with delicate facial features, intricate gold embellishments, and radiant detailing surrounding her figure. The painting is mounted in a unique tooled leather frame with decorative embossed corner accents, enhancing its antique appeal. The back includes provenance markings and care instructions. A striking and devotional piece, perfect for collectors of sacred art and religious iconography.Issued: 20th centuryDimensions: 12"L x 14"HCondition: Age related wear.

This original oil on canvas by Abraham Straski presents a reverent depiction of a rabbi carrying a Torah scroll, executed in a traditional realist style with rich, warm hues. The elderly figure, donned in a dark robe and yarmulke, holds the sacred scroll adorned with gold embroidery, an ornate crown, and the Star of David. The rabbi's expression, framed by a flowing white beard and gold-rimmed glasses, conveys deep wisdom and devotion. The bold, fiery background contrasts against the detailed rendering of the rabbi and the Torah, drawing attention to the spiritual essence of the subject. Straski, known for his Judaic-themed works, captures both the solemnity and grandeur of religious observance. Signed in the upper left, this work holds strong collectible appeal for those interested in Jewish heritage and religious art. Artist: Abraham Straski (Poland, 1903-1987)Issued: 20th centuryDimensions: 18"L x 22"HCountry of Origin: PolandCondition: Age related wear.

This remarkable sculpture by renowned artist Giuseppe Armani depicts Moses holding the Ten Commandments. Crafted with exceptional attention to detail, this piece showcases Moses in flowing robes, with intricate folds and lifelike expression. The sculpture rests on a polished wooden base that enhances its elegance. Signed by Giuseppe Armani and marked with the Florence Studio insignia, this sculpture reflects the artist's masterful ability to bring biblical scenes to life. The earthy tones and textured finish add depth and character, making it a striking addition to any collection of fine art or religious iconography.Artist: Giuseppe ArmaniIssued: c. 1993Dimensions: 11.5"HCountry of Origin: ItalyCondition: Age related wear. As is. Minor chip.

Seán Keating PPRHA HRA HRSA (1889 -1977) The Trinity Oil on board, 55 x 83cm (21½ x 32½") Signed The Trinity is most commonly seen in visual representations of Christian art as the dove symbolising the Holy Spirit descending from heaven, accompanied by two figures representing God the father and Jesus Christ. In this instance, while the figures adopt the traditional triad format, they have been substituted with three ordinary people from the west of Ireland. An older man stands with his hat removed in reverence looking off into the distance, a younger woman with her back to us, her hand outstretched in amazement, towards the central figure of the composition, a woman wrapped in a tartan shawl, standing in the position most often associated with Christ. Her arms are outstretched and the palms of the hands facing upwards. The fingers or her right-hand point in a gesture usually representative of a blessing, an intervention of the sacred in the human world. There is a serene expression on her face and a bright light falls on her, as if a divine vision has broken through the clouds. She stands in front a donkey and cart, which immediately calls to mind Mary and Joseph travelling to Bethlehem on the eve of Christ’s birth and his own arrival into the Jerusalem riding on the back of one.Keating does not provide us with much narrative content and the arrangement of the composition also suggests that more may be occurring beyond the picture plane. The arched canvas is reminiscent of traditional altar pieces, it frames the landscape mirroring the rolling shapes of the hills and fields behind. The trees sway in wind as clouds amass on the horizon suggesting inclement weather to come. The colour palette of red and green is picked up in the dress of both women and repeated in the gate and door frame of the cottage. He has captured perfectly the chalky, whitewashed walls of the west of Ireland houses.Throughout his career Keating painted religious works, often for specific commissions in churches. He was not a stranger to the language and mythology of the genre. It makes this work quite interesting to witness his mixing of the two styles of which he was so adept. It is not a straightforward image, as was common of Keating’s work, he enjoyed employing allegory and symbolism that moved beyond a linear narrative format. In works such as this and in his well-known history paintings, he was commenting not only on contemporary times but also on the greater arc of traditions that had formed Irish society. In many ways Keating became the official artist of the Irish Free state helping to shape, in visual terms, the new identity of an independent Ireland.

▲ Edward Burra (1905-1976) The processionwith 'E J Burra' estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso65 x 50cm, unframedProvenance: Sotheby's, London, 'Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners', 3 July 2002, lot 256;the property of a private collector.Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain's dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre.His undated drawing 'The Procession' showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, red-skinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.Condition ReportThere are several very small, repaired tears to the upper edge. A few light spots of foxing starting to emerge. Very light surface dirt. There is a little pale yellow discolouration in the lower right corner.

Depicting Christian religious figures. After the antique, mounted on an old frame. Picture L:24cm, W:19cm Good overall, varnished. Harrogate, UK art market.

Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures.  Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.

Attributed to Luis de Texeda (or Detegeda) (New Spain, Mexico 17th century).                “Our Lady of Guadalupe”.Oil on canvas. 178 x 107,5 cm.Luis de Texeda was an indigenous painter active in New Spain during the 17th century. According to historical references, Texeda was known as “the Indian who had the gift” to portray Our Lady of Guadalupe with great devotion and technical precision.Among the Guadalupes signed by Texeda, there is one in the National Museum of History in Chapultepec, dated 1669 and another in the former convent in Santo Desierto de Tenancingo, Mexico, dated 1682.The painting we present here reflects the novo-Hispanic baroque style, characterized by its dramatism and ornamental richness. Luis de Texeda used a painting technique consisting of thick and carefully worked layers, which allowed him to achieve a polished finish and great luminosity. Comparing this work with other depictions of Our Lady of Guadalupe from the same period, such as those made by Juan Correa, there is a difference in the treatment of colors and facial expression. While Correa preferred lighter tones and a more translucent palette, Texeda opted for darker tones and a greater pictorial density, which endowed his paintings with a unique air of solemnity.This distinction is key to understanding Texeda's relevance as a master of Guadalupan art, whose work not only fulfilled a devotional function, but also reaffirmed the artistic skill of indigenous painters in New Spain.The composition presents the Virgin Mary surrounded by a radiant mandorla of golden hues, symbolizing her divinity and immaculate purity. The use of a palette rich in colors such as deep blue, pearly white and gold emphasizes her celestial character. The proportion of the figure follows the traditional canons for Our Lady of Guadalupe, with a serene, stylized face and a “snowy wheat” tone that relates to the descriptions of the original model. The arrangement of the drapery and the ornamental details in the clothing, especially the brocade, denote meticulous technique and a clear intention to imitate the supernatural qualities also attributed to the original.During the 17th century, the Virgin of Guadalupe was consolidated as a symbol of identity in New Spain, associated both with evangelization and with the unification of indigenous and Creole communities under a shared religious imaginary. In this context, indigenous painters such as Luis de Texeda became renowned for their ability to replicate this sacred image with a level of detail considered miraculous. The worship of Our Lady of Guadalupe spread internationally, with copies spreading to places as far away as Genoa, where its impact was even manifested in historical events such as the protection of the Doria palace with was attributed the Virgin during the French bombardment of 1684.The painting faithfully follows the model established by the original, which is painted on a cloak, incorporating elements such as the crescent moon at her feet and the angel bearing her, representing victory over sin and the alliance between heaven and earth. The solar mandorla alludes to the woman of the Apocalypse, while the use of blue and gold connects with the regal and heavenly attributes of the Virgin. Texeda's indigenous character adds a level of cultural syncretism, in which Catholic elements merge with local artistic sensibilities, reinforcing his connection to indigenous communities.Reference Bibliography:- Gruzinski, Serge. La colonización de lo imaginario: sociedades indígenas y occidentalización en el México español, siglos XVI-XVIII. Fondo de Cultura Económica, 1995.- Gutiérrez Haces, Juana. “Pintores indígenas en la ciudad de México.” Historias, no. 37, 1996, pp. 137-152.- Peterson, Jeanette Favrot. Visualizing Guadalupe: From Black Madonna to Queen of the Americas. University of Texas Press, 2014.- Rodríguez Moya, Inmaculada. “El arte indígena novohispano del siglo XVII visto a través de las imágenes de Charapan.” Anales del Instituto de Investigaciones Estéticas, vol. 45, no. 103, 2023, pp. 35-70.- Brading, D.A. Mexican Phoenix: Our Lady of Guadalupe: Image and Tradition across Five Centuries. Cambridge University Press, 2001.

Attributed to Jose Espinosa de los Monteros and workshop (active in Cuzco, Peru between 1682 and 1688)“Infant Jesus as Vanitas”.Oil on canvas.61,5 x 83 cm.José Espinosa de los Monteros is a significant figure in the history of Peruvian colonial art, he was the closest follower of his father's style, the Peruvian painter Juan Espinosa de los Monteros, “considered to be one of the initiators of the Cuzco school”.His work falls within the Andean baroque, a style characterized by decorative exuberance and a profound syncretism between European traditions and local sensibilities. Although not as well known as other colonial painters such as Cristóbal de Villalpando or Diego Quispe Tito, Espinosa de los Monteros left a remarkable legacy through his work, especially in the portrayal of religious themes.  He has a remarkable ability to integrate decorative elements, such as garlands of flowers, and symbolic elements into his compositions, giving his paintings both aesthetic and theological meaning. These characteristics are clearly manifested in the painting we have here of the Child Jesus as Vanitas, where the painter uses a frame of flowers to reinforce the message of the transience of earthly life and the inevitability of death.The work we present here, attributed to Espinosa de los Monteros and his workshop, is a good example of the use of Christian iconography to express complex ideas about life and death. The Infant Jesus is depicted in a state of sleep, leaning on a skull, a memento mori symbol that invites reflection on mortality. However, the tranquility of the Child suggests a serene acceptance of the fate that awaits him, a duality that is common in Christian iconography, where life and death are inextricably linked.The floral frame is another key element of the composition. The flowers, arranged exuberantly around the Child, not only embellish the scene, but also reinforce the theme of vanitas. In the Baroque tradition, flowers often symbolize the transience of life and fleeting beauty, which contrasts with the eternity promised through redemption in Christ. The Latin inscription at the bottom of the work, “EGO DORMIO ETCOR MEVM VIGILAT” (I sleep, but my heart watches), taken from the “Song of Songs” (5:2), underscores constant divine vigilance, even at rest.The works of José Espinosa de los Monteros are scattered over various collections, both in religious institutions and museums. Some of his most important paintings are located in the Cathedral of Lima, where several of his altarpieces and paintings dedicated to Marian devotion are kept. In addition, his work can be found in museums of viceregal art, such as the Museo Pedro de Osma in Lima, which houses a rich collection of Peruvian colonial art. He is also the artist that created the hagiographic series on the life of Saint Teresa (1682), which is preserved in the Cuzco monastery of the same name, as well as the Saint Dominic de Guzmán, which can be found in the main cloister of the Dominican convent.Bibiographical References:- Mujica Pinilla, Ramón. Ángeles apócrifos en la América virreinal: imágenes de serafines y querubines en el arte colonial. Lima: Fondo Editorial del Congreso del Perú, 2008.- Gisbert, Teresa. Iconografía y mitos indígenas en el arte. La Paz: Gisbert y Cía., 1980.- Mesa, José de, y Gisbert, Teresa. Manierismo y barroco en el altiplano. La Paz: Embajada de España en Bolivia, 1983.- Stastny, Francisco. Pintura cuzqueña. Lima: Banco de Crédito del Perú, 1995.- Sánchez, Luis. La pintura en el Virreinato del Perú. Lima: Universidad Nacional Mayor de San Marcos, 1989. 

Antonio Jose Landaeta (active in Caracas, Venezuela, 1748 - 1799)“Immaculate Conception”Oil on canvas.51 x 40 cm.The Immaculate Conception, attributed to Antonio José Landaeta, master painter and gilder active in Caracas between 1748 and 1799, is an oil on canvas of small dimensions, characteristic of the Venezuelan school of the 18th century.At first sight, we observe an exquisite image of a young woman, dressed in a white tunic and with a blue mantle superimposed with her hands together almost subtly crossed over her chest against a background or sea of clouds of golden tones, and a cascade of cherubs and angels.Compared with other works by Landaeta and with the portrayals of the Immaculate Conception in the Cisneros and Santaella Garrido collections, this painting shares a similar approach to composition and symbolism. However, there are differences in the tones and distribution of the decorative elements, suggesting a stylistic evolution within the Landaeta workshop. When analyzing the other two comparative paintings, we observe that the curtains and the backgrounds have similarities in the brocade technique and in the depiction of the cherubs, which reinforces the stylistic coherence within the artist's work.Likewise, we observe a delicacy in the handling of proportions and an attention to detail that denotes academic influences and that locate the work in the late Venezuelan baroque, with aspects that stand out in much of Landaeta's work, such as the use of soft tones and the fluidity in the folds of the clothing, which reflect an interest in naturalness and movement. In addition, the chromatic palette of soft tones, with a predominance of ochers and pinks in the backgrounds, is a distinctive characteristic of Landaeta and the school that bears his name. This treatment, together with the expert handling of the drawing and the decorative details, underlines the mature style of his work. All this reaffirms the attribution of this painting of the Immaculate Conception to the artist.Landaeta was part of a historical context in which the Catholic Church promoted intense devotion to the Virgin Mary, reflected in this painting. In Caracas, artistic activity was linked to both religious orders and local elites, who commissioned artworks that reflected their faith and social status. Landaeta, as a painter and gilder, contributed to this tradition not only with highly symbolic paintings, but also with decorative commissions for churches and confraternities. His workshop, shared with his brother Juan José, produced art that combined local influences with European models, adapting engravings and compositions spread from Spain and other parts of the American continent.Iconographically, this portrayal of the Immaculate Conception follows a European model widely disseminated in Latin America, inspired by engravings such as those of J. Salvador Carmona, based on paintings by Mateo Cerezo. However, Landaeta's version introduces local elements, such as warmer tones and the dynamic arrangement of the cherubs. These details reinforce the connection between the Virgin and the faithful, highlighting her role as intercessor and protector in a context of religious fervor.The painting was intended to spread the dogma of the Immaculate Virgin, much more complex than the simple virginity before, during and after the birth of Jesus; and that throughout history has been the cause of controversies and disputes, of defenders and detractors. The former, led by Franciscans and later by Jesuits, ardent supporters of this dogma who based their defense on texts by John Duns Scotus (13th century). Among the detractors, the Dominican order stands out, with a more erudite theological base that made its main philosopher Thomas Aquinas (13th century) reject this concept. To highlight the painting, two of the large angels, to the right and left of the Lady, hold four symbolisms of the Lauretan Litanies: a palm of martyrdom, symbolizing Mary as Queen of martyrs; and a rose held in the other hand, referring to Mary as a mystical Rose; the other angel carries a lily of the field and a mirror, projecting Mary as a mirror of justice. The Lauretan Litanies present here are a compilation of metaphors, taken from sacred texts, mainly from the Song of Songs in the Old Testament, which were used to praise the Virgin Mary and as a means of prayer, based on constant repetition. We see, therefore, a perfectly defined image, the image of the Virgin, at the same time as a concept as elusive as that of the virginal Conception. We see her reflected in the baroque artistic style that envelops her, full of rapture, movement, exuberance, flying drapery and details, even the air that keeps everything moving. Reference bibliography:- Boulton, Alfredo. (1975). “Historia de la pintura en Venezuela. Época colonial, vol. I”. Ernesto Armitano Editor.- Duarte, Carlos (2000). “Diccionario biográfico documental. Pintores, escultores y doradores en Venezuela”. Fundación Galería de Arte Nacional, Fundación Polar.- Galería de Arte Nacional. (1982). “Diccionario de las Artes Visuales en Venezuela”, vol. I. Monte Ávila Editores.

Attributed to Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"The Inmaculate Conception and The Holy Trinity"Oil on panel.51 x 35 cm.This small panel reflects one of the painter's continuing and significant interests in Marian subjects, a theme that brought him a great reputation for the quality of his work. His work is related to the technique and stylistic treatment usually found in artists such as Manuel Samaniego. This would have been one of the many commissions Rodriguez received from various religious institutions. And it was that ecclesiastical protection which meant that he was privileged enough to have the advantage of being able to paint canvases that we can currently admire in the Cathedral of Quito and in the Museum of Colonial Art an the Casa de la Cultura Ecuatoriana.In this Immaculate Conception, the artist has staged a perfect two in one by conjoining two devotions in a single painting. Two of the most typical pictorial representations in the viceroyal Hispanic American iconography are concentrated in a single painting: the Immaculate Conception, on the one hand, and the Holy Trinity, on the other. And, together, they form this painting of a Trinitarian Immaculate Conception. Mary is richly attired with the characteristics of viceregal painting, holdng an image her Son, made Eucharist and symbolised by a monstrance, with which she offers to bless those who approach to contemplate her. The scene is watched from heaven by the Holy Trinity: the Son, carrying the Cross (salvation of the world); in the center, the Holy Spirit, who carries his identity, (what he is, Love or the flame of Living Love); and the Father, on the right, as Pantocrator who blesses all.The painting we present, when compared with other works attributed to the artist, such as the “Coronation of the Virgin with heraldry of a Spanish family” found in the Franciscan Museum of Quito, shares similarities in the treatment of colors and decorative details. When analyzing the painting together with the comparative images, a stylistic continuity can be observed in the use of blue and gold, as well as in the idealized and delicate depiction of the faces, showing serene spirituality in the Virgin and solemn hieratism in the figures of the Trinity.Bernardo Rodríguez demonstrates remarkable control of light and color, using a palette that emphasizes deep blues in the cloaks and bright golds in the decorative details. The use of gold in the garments, particularly in the brocades, highlights the artist's technical virtuosity and his ability to integrate European and local influences.Although the panel format limits the scale and detail of the composition, it maintains the symbolic and devotional richness characteristic of the Quito school. The difference in media and dimensions reveals Rodríguez's adaptability to different formats and commissions.By employing an accessible and emotional visual language, Rodríguez reinforces the role of art as a tool for evangelization and devotion, consolidating the religious and cultural identity of the time.This painting comes from a period of intense artistic production in Quito, driven by the religious orders that promoted Marian iconography within the framework of the Counter-Reformation. The Virgin Mary, as a symbol of purity and divine mediation, acquired great relevance in viceregal art, especially in territories where the indigenous population could identify with her maternal figure.Reference bibliography:- Kennedy Troya, Alexandra. (2007). "Arte de la Real Audiencia de Quito, siglos XVII-XIX". Nerea.- Handelsman, Michael. (2000). "Culture and Customs of Ecuador". Greenwood Press.- Escudero Albornoz, Ximena y Vargas Arévalo, José María. (2000). "Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)". Editorial Abya Yala.

Juan Tinoco (Puebla de los Ángeles, 1641 - 1703)“Saint Gertrude the Great”.Oil on canvas.114 x 85 cm.The painting shows us a magnificent portrayal of Saint Gertrude the Great, Benedictine Cistercian nun, patron saint of Puebla, rescuer of souls from Purgatory, lover of the Child Jesus, abbess of the Sacred Heart and intercessor for a good death. In our opinion, this painting is by the painter Juan Tinoco, who was an outstanding exponent of the novo-Hispanic baroque. This Saint Gertrude would have been painted between 1670 and 1690.In it we can observe the technical virtuosity and spiritual depth characteristic of this painter, active mainly in Puebla, Mexico, where he developed a consolidated career in a cultural context marked by the rise of religious art.The cultural context of this painting is framed in the flourishing of the viceregal baroque, a period of intensification of religious art as a means of catechesis and devotional expression. Puebla, known as the “City of Angels”, was an important artistic center where Spanish, indigenous and mestizo influences converged. Tinoco's work reflects this fusion, evidenced in the exquisiteness of the details and the richness of the materials used, such as the application of gold in the halo and the inscriptions.Stylistically, the painting combines a refined use of chiaroscuro with a sober but warm chromatic palette, dominated by blacks, reds and golds. The folds of the saint's habit are modeled with sculptural precision, while the details of the book and the table demonstrate Tinoco's skill in painting textures. This technical virtuosity, together with the emotional intensity of the scene, places Saint Gertrude the Great among the painter's most outstanding artworks.Comparison with other paintings by Tinoco, such as the Mystical Wedding of Saint Rose of Lima from the Cathedral of Puebla and the Our Lady of Sorrows from the Museo Nacional del Virreinato, reveals similarities in the depiction of sacred figures, especially in the idealization of the faces and the use of halos of light. In this composition, Saint Gertrude is portrayed in a moment of mystical ecstasy, a portrayal that has its roots in the rise of devotion to the Sacred Heart of Jesus, promoted in the 17th century by Jesuit spirituality. The inscription “INVENES ME IN CORDE GERTRVDIS” (“In the heart of Gertrude you shall find Me.”) reaffirms the deep connection between the saint and Christ, symbolizing the spiritual union that defines her life and legacy. The Child Jesus, emerging from her heart, carries an orb as a symbol of her universal sovereignty, while the halo of light reinforces her divinity. The crosier, the attribute of abbess, and the open book, allude to the saint's wisdom and spiritual authority.The saint wears four rings that symbolize her mysticism and spiritual status. Each ring symbolizes a virtue or spiritual gift, and their presence in the painting underscores Gertrude's level of consecration and holiness.Juan Tinoco, considered one of the main representatives of the Puebla school, was a disciple of the master Sebastián de Arteaga, one of the artists who introduced tenebrism to New Spain, influenced by the style of Francisco de Zurbarán. Arteaga transmitted the dramatic use of light and shadow to Tinoco, as well as a predilection for scenes of mysticism and devotion. In turn, Tinoco exerted a notable influence on local artists, leaving a legacy that extended even outside of Puebla. His work is characterized by a balance between Spanish sobriety and a delicate ornamentation typical of American sensibility.Juan Tinoco's legacy extends beyond his pictorial production. His workshop was a formative space for local artists who later took the traditions of the Puebla school to other corners of the viceroyalty. In addition, his paintings, present in important ecclesiastical collections, consolidated his reputation as one of the great masters of the novo-Hispanic baroque.Bibliographical references:- Toussaint, Manuel. (1965). “Pintura Colonial en México”. UNAM.- Vargas Ugarte, Rubén. (1956). “Historia del Arte en el Perú Virreinal”.- Rodríguez Miaja, Fernando E. (2004). "Juan Tinoco: Gloria de pintura poblana". Consejo Nacional para la Cultura y las Artes.

Novohispanic school. 18th century. Attributed to José de Páez (Mexico City, 1727 - circa 1790)."Saint John the Baptist in the desert"Oil on canvas. 168 x 112 cm.This painting, depicting St. John the Baptist in the Desert, is one of a series of similar paintings produced in New Spain (present-day Mexico) during the 17th and 18th centuries. The theme of St. John the Baptist, especially his figure in the desert accompanied by a lamb was recurrent in the religious iconography of the time, used to highlight the ascetic life of the saint and his role as a precursor of Christ.The composition of this picture reflects a remarkable similarity with other paintings of the same subject matter, in particular with a painting by Baltasar de Echave Ibía, recently acquired by the Hispanic Society of America. Echave Ibía, active in the first half of the 17th century, was one of the main exponents of Baroque in New Spain, known for his use of chiaroscuro and the dramatic composition of his figures. His influence was so significant that his style was replicated and reinterpreted in later generations of New Spanish painters.Both Echave Ibía's “Saint John the Baptist in the Desert” and the one we have here present a young Baptist in an attitude of alertness, looking heavenward, with a lamb at his feet. The pose and drama of the figure are characteristic of the Baroque, emphasizing both the saint's spirituality and his connection to Christ's sacrifice.Ibía's painting was influential enough to be copied or emulated by other artists, as our magnificent version demonstrates. It can be placed within the tradition of copies and adaptations, which was common in Novo-Hispanic workshops, and painted in our opinion by a later primary artist of great mastery, such as José de Páez, a painter active mainly between 1750 and 1780, who often revised and adapted established compositions for new commissions.In terms of execution, ours differs from Echave Ibia's work technically in the way the flesh tones are painted and in the use of the selected color palette.The figure of the lamb is a central symbol in the iconography of St. John the Baptist, representing Christ as the “Lamb of God”. This symbol, together with the dynamic posture of the saint, reinforces the pedagogical and devotional function of the painting, which would have been used both in churches and convents to inspire faith among the congregation.The paiting is, therefore, a testimony to the persistence and adaptation of iconographic models in Mexican colonial art, where the figure of the Baptist served for both personal devotion and religious teaching in the context of New Spain.

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.

Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also  known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image.  They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977.  -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982.  -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94.  -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30.  - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.   

Jose de Alcíbar (Mexico City, 1730 - 1803)"Allegory of Africa"Oil on canvas.132 x 96 cm.José de Alcíbar was one of the main exponents of New Spain painting in the second half of the 18th century. Born circa 1730, Alcíbar was remarkable in his ability to portray the ethnic and cultural diversity of New Spain and to accurately depict the physical details and symbolic elements in his characters, something that can be seen in his numerous casta paintings. These artworks, executed in a style that combines European influences with a local sensibility, are a key reference to understanding why we are attributing the painting we are analyzing to him.This is an elegant and striking painting showing one of the personifications of one of the four continents then known (Europe, Asia, Africa and America).Africa is represented here by a standing black character, who turns his head slightly to the left, as if paying attention to a voice calling him. With frizzy, curly hair, richly dressed in the manner of eighteenth-century Europe, showing wealth and abundance, with  clothing which is richly brocaded and trimmed on the sleeves and large red cloak.  The character also wears a necklace of a string of pearls and other jewelry, in the form of earrings.  They hold a sword in their right hand and a bow and arrows with their left.A Novo-Hispanic painting that helps us to gain a little more understanding of the sense that geographical allegories had in Renaissance and Baroque art.It was usually a way of demonstrating the confines of a given empire, and true to the mentality of the time, depicting a monarchy surrounded by continents was a clear expression of power, expressing that their power extended throughout the world.One of Alcíbar's best known paintings is “From Indian and Mestiza, Coyote” and “From Spaniard and Morisca, Albino”, which are in the Philadelphia Museum of Art. These paintings are part of the casta tradition, a pictorial genre that developed in New Spain and was intended to visually classify the different racial mixtures that arose from contact between Europeans, Africans and Indians. These works stand out for their detailed observation of the costumes, textures and gestures of the characters, something that is also evident in the painting of the “Allegory of Africa” that we have here.As in his casta paintings, Alcíbar uses chiaroscuro in “Allegory of Africa” to model the figure using strong contrast between light and shadows, giving it three-dimensional volume and reinforcing its presence in the composition.The depiction of clothing, with its folds, textures and finely worked details, is another characteristic shared with Alcíbar's casta paintings. The precision in the texture of the fabrics, the brilliance of the jewels and the meticulous depiction of the jewelry suggest the expert hand of a painter accustomed to capturing the material and symbolic wealth of his characters.The painting is significant not only for its artistic quality, but also for its ability to reflect colonial-era concerns and ideologies regarding ethnic diversity and the depiction of figures descended from Africa.This connection to Alcíbar's casta paintings, especially those in the Philadelphia Museum of Art, reinforces the attribution of the work and underscores the importance of José de Alcíbar as a key painter in the portrayal of racial diversity in New Spain. As the Museo del Prado states in their biographical factsheet, Alcíbar was ‘One of the most active and representative artists of the painting scene in Mexico City during the second half of the 18th century. He received numerous commissions, especially for religious paintings for various churches and portraits of leading figures in Mexican society, with a personal style that was not unrelated to the artistic processes taking place in the metropolis. Mexico City in the 18th century was a time of special cultural importance, also in artistic terms, with the founding of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of the founding members and in which he took an active part until his death. Despite the relative success of his teachings, the Academy saw the arrival in Mexico of painters trained and active in Madrid, such as Ginés Andrés de Aguirre, Cosme de Acuña, José Arias and Antonio González Velázquez, who undoubtedly enriched the horizons of the Latin American painters. The two portraits in the Museo del Prado are characteristic of one facet of Alcíbar's production, portraiture, and show the elegance and flamboyance of his brushwork.Reference bibliography:- Magali Carrera, “Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings” (2003).- Ilona Katzew, “Casta Painting: Images of Race in Eighteenth-Century México” (2004).- Museo de Arte de Filadelfia, Colección de Pinturas de Castas.- Museo del Prado. (n.d.). "Alcíbar, José de". https://www.museodelprado.es/aprende/enciclopedia/voz/alcibar-jose-de/858ad8f0-de5b-4a63-921a-49d2d989e660

Jose Campeche (San Juan, Puerto Rico, 1751 - 1809)"Possible Portrait of Mrs. Catalina de Urrutia"Oil on canvas. 102 x 77 cm.Campeche portrayed María de Urrutia on various occasions and at different ages. Our hypothesis is that this portrait would be the one in which she appears at the oldest age.As the website of the Hispanic Society of New York indicates, "María Catalina de Urrutia belonged to a prominent Creole family of landowners in Cuba, where she was born (in 1749); her father, Bernardo de Urrutia y Matos, was mayor of Havana. In 1766 María Catalina married Colonel Juan Andrés Dabán y Busterino (1724-1793), a Spanish military officer of Aragonese descent who would become governor and captain general of Puerto Rico from 1783 to 1789. He had been military inspector of Cuba in the mid-1760s, and it was apparently there that they became engaged. In Puerto Rico he led hurricane reconstruction campaigns, established a postal system, began paving streets and pavements with blue volcanic ballast from the Canary Islands, and founded a cigar factory that exported to the Netherlands. He was promoted to field marshal, and back in Spain he was governor of Badajoz from 1792. The date on which Don Juan and Doña María moved to Spain is uncertain.The iconography of the painting reveals elements of deep personal significance. Her attire includes sumptuous lace and an exceptional jewel: a pendant with a hair locket, a common practice at the time, often associated with the memory of a deceased loved one. The Dabán-Urrutia family had nine children, some of whom are known to have died in infancy, including Juan Bernardo and Francisco Dabán Urrutia, whose records disappear prematurely. It is plausible that the pendant with hair represents the mother's mourning for one of them.The material history of the portrait suggests that it may have been taken to Spain by one of their sons after the death of Juan Andrés Dabán in 1793. By that time, several of their descendants were already in the Iberian Peninsula holding military and administrative positions. Antonio Dabán Urrutia (1777-1848), a prominent naval captain and counselor of the Indies, and Manuel Dabán Urrutia (1771-1849), a brigadier and military governor, were key figures in 19th century Spain, and it is possible that the portrait was transferred by them as a family heirloom. Since there are no precise records of María Catalina's death, it is uncertain whether she was still alive when the work was moved, although her presence in sources after 1793 is scarce.This painting, an exceptional testimony of the Puerto Rican colonial elite and of Campeche's mastery, has resurfaced in the academic field as a visual document of the Dabán-Urrutia family, connecting the Spanish Caribbean with peninsular Spain across generations.Campeche was one of the most renowned Puerto Rican artists. He was the only disciple of Luis Paret y Alcázar (1746-1799), who arrived on the island as he was banished by King Charles III between 1775 and 1778. 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 keeps 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 being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."

Attributed to Diego de la Puente (Mechelen, Belgium, 1586 - Lima, Peru, 1663)‘Infant Jesus of Passion’ Oil on canvas.41,5 x 32,5 cm.Diego de la Puente, born in Mechelen (Belgium) in 1586, is a European painter who developed his career in the Viceroyalty of Peru from 1620, after training in the workshop of Flemish masters in Europe, such as Joos van Cleve and Gossart. His arrival in Peru coincided with the expansion of European artistic influence in South America, where the Jesuits and other religious orders were looking for artists to decorate their churches and missions. The artist is a sublime example of the use of great mastery of Flemish art to introduce the evangelizing message to the Andean world.Diego de la Puente worked intensely for the Society of Jesus, producing a series of religious artworks that were distributed throughout various regions of the viceroyalty, including Lima, La Paz and Santiago de Chile. Likewise, explains historian and curator Teresa Villegas de Aneiva, he was “one of the key figures in the training of the local schools in Trujillo, Lima. Ayacucho, Cuzco, La Paz, Potosí and Chuquisaca, cities to which he was assigned by his superiors of the Jesuit Order during the period 1620-1662, the year he died in Lima.”This painting has stylistic and technical characteristics that we find in signed and documented works by Diego de la Puente.The most evident is the treatment of the faces. The Child is depicted with a delicate and serene face, with an elongated and soft structure, typical of the Flemish style that De la Puente brought to Latin America. It is similar to the face of the “Archangel St. Michael”, currently in the National Museum of Art of Bolivia. These paintings, in fact, share “a very personal style, characterized by a rapid brushstroke, rich palette and a choice of shades ranging from cold green to warm brown”, this is how Villegas de Aneiva describes the Archangel and we would use the same words to describe this Child.De la Puente uses light to highlight the central figure of the composition, creating a contrast with the darker background, which emphasizes the spiritual aspect of the scene. This technique is common in the Baroque, and De la Puente handles it with skill, adapting it to Christian iconography in the Peruvian context.As far as iconography is concerned, in this canvas we see the Christ Child carrying the instruments of the Passion, based on an engraving by the Flemish artist Hyeronimus Wierix (1563 - pre 1619). The Christ Child travels along a path full of thorns, holding the Cross and carrying a small basket with the instruments of the Passion. These engravings or prints became famous and possibly one of them fell into the artist's hands, inspiring this small devotional painting. It reflects an apocryphal, unreal and timeless situation of the iconography of the Passion Child, immersed in the crude and terrible reality of a joyless childhood, but theologically founded according to Thomas Aquinas, “the first thought be for the Cross”: a “Pensative Child” whose dream is the Cross. That Child becomes tangibly humanized “descending and walking” at our side, he offers himself to the viewer carrying his inexorable and distant end, he offers himself to a society that, since the Middle Ages and the Baroque, lived preparing for death. The art of that time engendered an attraction for the macabre and morbid that resulted in small and genuine artistic creations, like this one, the image of the Child, presenting his fatal destiny, and that is a fair comparison with the feeling of impotence and frustration of the baroque people before the uncertainty of every day. A small painting that devoutly encloses the thought of the 17th and 18th centuries of anguish, disillusionment, fear and the need for hope that flooded the mood and consciousness of a society with a fetishistic religiosity close to magic. The cross he carries on his right shoulder reads in Latin and gold: “OPUS EIVS, CORĀ ILLO” (“His work, it is / resides in that heart”).Reference bibliography:- Gisbert, Teresa. (1980). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert y Cía.- Mesa, José de y Gisbert, Teresa. (1982). “Historia de la Pintura Cuzqueña”. Fundación Augusto N. Wiese.- Schmidt, Klaus. “Pintura Colonial en Bolivia”. (1978). Editorial Amigos del Libro.- Tauro del Pino, Alberto. (2001). “Enciclopedia Ilustrada del Perú”. PEISA.- Villegas de Aneiva, Teresa. (s.f.). “El retorno de los ángeles”. https://www.bolivian.com/angeles/asmiguel.html

A Tibetan bronze stupa, 12th/13th century, of bell shaped form, the lotus knop finial above a ridged spire and gallery, on a turned tapered pedestal and double lotus base, height 12cm. Provenance: Peter Fussel, London, late 1960s, and Bonhams Hong Kong, 2nd October 2018, Lot 146. Provenance: the Alain Presencer Collection. Note: a stupa or chorten is the most ancient form of Buddhist art, symbolizing the monumental funerary mounds of ancient India used to store the cremated remains of spiritually attained lamas and Buddha relics. In Tibetan Buddhism, a stupa represents the mind of Buddha (enlightened being) and of Buddhist practitioners. This is a Kadam style stupa, named after the Religious Order of Tibetan Buddhism that flourished between the 11th and 14th centuries. Stupas are used for votive offerings, memorials and reliquaries, and often contain consecratory items like paper players, incense, stones or relics.

A touching tribute to the patron saint of animals, this Goebel porcelain figurine beautifully captures the serene presence of St. Francis of Assisi. Dressed in a flowing brown robe with a knotted rope belt, he stands barefoot, surrounded by a gathering of vibrant birds perched on his hands and shoulders. His gentle expression and outstretched hand evoke a sense of peace and harmony with nature. Expertly hand-painted with intricate details, this mid-century piece bears the Goebel West Germany mark, a testament to its fine craftsmanship. A meaningful addition to any collection of religious art or vintage Goebel figurines.Issued: c. 1960Dimensions: 7"HCondition: Age related wear.

This antique Spanish Colonial oil painting on canvas depicts a Madonna and Child surrounded by cherubic figures, rendered in a rich, devotional style with intricate detailing. The Madonna is adorned in an ornate robe with gold filigree patterns, while soft, ethereal light enhances the sacred composition. The age and wear of the canvas, visible craquelure, and traditional religious iconography suggest an 18th-19th century origin, possibly from Mexico or Peru. The painting is housed in a hand-carved, gold-gilded wood frame, complementing its historic ecclesiastical aesthetic. A rare and exquisite addition for collectors of Spanish Colonial art, religious iconography, and antique devotional paintings.Issued: 18th or 19th centuryDimensions: 27.5"L x 35"HCountry of Origin: Mexico or PeruCondition: Age related wear.

This antique Spanish Colonial oil painting depicts Saint Catherine of Alexandria, seated in an ornate chair, elegantly dressed in a richly embroidered golden robe. She is portrayed holding a palm branch and a spinning distaff, symbolizing her wisdom, faith, and martyrdom. The dark background is adorned with an intricate floral border, a characteristic feature of 18th-19th century Latin American religious art, likely from Peru or Mexico. Painted on canvas, the piece exhibits visible craquelure and aging, consistent with its historical significance. It is housed in an ornate gold-gilded Baroque-style frame, complementing its ecclesiastical aesthetic. A rare and exceptional addition for collectors of Spanish Colonial devotional art and religious iconography.Issued: 18th or 19th centuryDimensions: 24.5"L x 28.75"HCountry of Origin: Mexico or PeruCondition: Age related wear.

This lot features two exquisite religious triptych pieces. The larger triptych stands at 7"H and showcases a finely detailed Madonna and Child scene framed by ornate hand-painted and gilded floral designs. The smaller triptych features a vibrant depiction of a Virgin Mary icon flanked by angels, accented with intricate gold detailing on a black lacquer background. Both pieces are meticulously crafted, emphasizing traditional religious artistry. Perfect for collectors of devotional art or as decorative pieces.Dimensions: See DescriptionCondition: Age related wear.

Ca. 30 BC - AD 400. A collection of papyri inscribed with demotic text in black ink. Demotic was used specifically for writing detailed documents, like accounting, literacy, and religious texts, and represents a movement from standardised hieroglyphs. Demotic was used famously as one of three writings on the Rosetta stone. Framed. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: The Metropolitan Museum of Art, Object Number: 09.182.54; The British Museum, Museum number EA10026.Size: 330mm x 240mm; Weight: 315gProvenance: Private UK collection; Ex. Dr. Ulrich Müller collection, Switzerland, 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Alex Grey (American, b. 1953). Acrylic on wood painting titled "The Soul Finds It's Way" depicting a cross-section of a human head below a vibrant and surreal landscape of waving lines and flaming eyes all leading towards the same cosmic vanishing point, 2001. Signed and dated along the lower right. The work is from the "Progress of the Soul" series.Lot Essay:Alex Grey is an American artist known for his spiritual and psychedelic artwork, particularly his Sacred Mirrors series, which includes 21 life-sized paintings exploring human anatomy and consciousness. Grey's work integrates the physical, metaphysical, and spiritual realms, often featuring detailed representations of the body’s systems alongside religious symbols like auras and chakras. His art has been widely exhibited and is recognized for its visionary style, blending sacred, scientific, and psychedelic elements. Grey has been influential in the art world and in psychedelic culture, with his artwork appearing on album covers for bands such as Tool, Nirvana, and the Beastie Boys. He is also a key figure in the Visionary Art movement and has authored several books on art, consciousness, and spirituality.Grey has described Visionary Art as a movement whose mission is to "make the soul perceptible...Visionary art encourages the development of our inner sight. To find the visionary realm, we use the intuitive inner eye: the eye of contemplation; the eye of the soul. All inspiring ideas we have as artists originate here."In 2004, he and his wife, Allyson Grey, founded the Chapel of Sacred Mirrors (CoSM), a sanctuary dedicated to visionary art located in Wappingers Falls, New York. The CoSM aims to inspire a global community through sacred and visionary art, offering a space for both reflection and worship. He has appeared in various documentaries, such as "ARTmind" and "CoSM The Movie," and has spoken at conferences worldwide. Alongside his artistic work, he and Allyson Grey have created a podcast discussing topics ranging from art to philosophy and spirituality.Unframed; height: 14 in x width: 11 in. Framed; height: 18 1/2 in x width: 15 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no losses or restorations. Light wear to the frame. There appears to be some moisture exposure to the paper backing of the frame; however, this does not affect the recto or verso of the artwork. 

Crowley (Aleister) Oracles: The Biography of an Art. Unpublished Fragments of the Work of Aleister Crowley, with Explanatory Notes by R. P. Lester and the Author, first edition, [one of 500 copies], 14pp. advertisements at rear, with perforated order form at end (perforation splitting at head), original wrappers, lettered on spine, spine ends a little chipped, upper joint repaired, upper cover verso with tape repair to foot, light creasing, some splitting to head of lower joint, preserved in folding chemise and calf-backed slip-case, [Yorke 20], 8vo, Inverness, Society for the Propagation of Religious Truth, 1905.*** Scarce work, written by Crowley at Boleskin House, Loch Ness. We can trace only 1 copy at auction the in last 40 years.  

SIR JOSEPH NOEL PATON (BRITISH, 1821-1901)Puck and the Fairy (Act II, Scene I, A Midsummer Night's Dream) signed with monogram and dated '1882' (lower left) and with inscribed label 'Sir Noel Paton R.S.A. ** L.D. H.M Limner for Scotland, Puck and the Fairy, "Puck. How now spirit? Whither wander you?" Midsummer Night's Dream, act 2 scene I, No. 1' (to back of stretcher) oil on canvas 60.5 x 60.5cm Provenance The Royal Scottish Academy, Edinburgh, where purchased by the present owner's family in 1883, thence by descent; Private collection, UKExhibitedEdinburgh, The Royal Scottish Academy, 1883, No. 299FootnoteSir Joseph Noel Paton was born in Dunfermline, Scotland, in 1821. After attending Dunfermline Art Academy, he went onto study at The Royal Academy in London in 1843, where he met Sir John Everett Millais. Millais, clearly impressed by Paton's work, invited him to become a member of the Pre-Raphaelite Brotherhood but Paton declined the invitation, even though he shared similarities in style. Paton was an expert in folklore and many of his works reflect this interest. His primary subjects include historical, religious and allegorical scenes, as well as scenes from plays by the likes of Shakespeare, and fairy paintings, the latter being a particularly interesting subject in Victorian Britain. Paton returned to Scotland and, in 1844, exhibited his first work at the Royal Scottish Academy, Ruth Gleaning. He went on to attain various prizes for his work including The Quarrel of Oberon and Titania and The Reconciliation of Oberon and Titania, both now in the collection of The National Gallery of Scotland. In 1847 Paton became an Associate of The Royal Scottish Academy and in 1865 was appointed Queen's Limner for Scotland, a post previously held by the likes of Sir Henry Raeburn and Sir David Wilkie. Paton spent the majority of his career in Scotland and died in Edinburgh in 1901.The work offered here, Puck and the Fairy, was painted by Paton in 1882 and portrays the opening sequence of act 2, scene 1 from Shakespeare's A Midsummer Night's Dream. Robin Goodfellow, a hobgoblin, or puck, has been sent by Oberon, King of the Fairies, to obtain a special flower that makes people fall in love with the next creature they see. Oberon wants to use this to make Titania, Queen of the Fairies, fall in love with a beast, so he can use her infatuation to steal an Indian boy from her. The image painted here by Paton is the opening exchange between Robin Goodfellow and a fairy in the woods, which takes place before their master and mistress, Oberon and Titania, confront one another.This picture was exhibited by Paton at The Royal Scottish Academy in Edinburgh in 1883 and at that time was acquired by the vendor's family, subsequently being passed down through the generations until today. Still held in its ornate original frame, it now comes fresh to the market for the first time in over one hundred and forty years.Condition reportThe canvas has been relined.Craquelure visible.Surface dirt.A little undulation to canvas upper left.Discoloured varnish. No signs of retouching.Appears in generally good, original, presentable condition.Nothing fluorescing under uv light.

Laurence Stephen Lowry RA, British 1887-1976 -  The Church at Northleach, c.1940s;  pencil on paper, signed lower right 'L. S. Lowry', 27.5 x 36 cm (ARR) Provenance: Halcyon Gallery, London, stock no. LSL/PWC/LAN/71434 (label attached to the reverse of the frame);  private collection  Note:  the present work relates to the painting 'Northleach Church, 1947' that was sold at Christie's, London, on the 23rd November 1993. This painting was shown at the Lefevre Gallery exhibition 'Paintings and Drawings by L.S. Lowry, R.A.', 1976 and also as part of the Arts Council of Northern Ireland exhibition in Belfast 'L.S. Lowry' when it was on long-term loan to Salford, Museum and Art Gallery. The present work was drawn when Lowry was staying with a previous owner's parents in the area in the 1940s.  L.S. Lowry is best known for his industrial landscapes of North West England, particularly around Salford and Pendlebury, Lancashire, where he worked as a rent collector for most of his career. In the present drawing, Lowry has distilled the architectural forms of the church and graveyard in a series of bold, confident lines, to create an economic but striking depiction of this view. Churches would be a repeated subject in his work throughout his career, reflecting his interest in monumental architectural forms and a sense of British social and religious history.  

TWO NORTH EUROPEAN TAPESTRY PANELS OR CUSHION COVERS, ONE DEPICATING A BIBLICAL SCENE, THE OTHER AN ALLEGORICAL SCENE (2)Probably North German, Late 16th / Early 17th Century The first depicting the Madonna and Child with attendant patrons and architecture behind, winged putti holding a crown above, borders of leafy garland and fruit with possibly a coat of arms to the bottom edge, 56.5 x 56.5cm; the second with central garden fountain, castle to the background with a female holding a knife and reclining gentleman to the foreground, with a floral border, 56 x 58.5cmThese two vibrant small tapestries are associated with a group of tapestries woven in silks and wools attributed to southern Denmark and the Schleswig-Holstein region of North Germany. Workshops are recorded from the 1570s/1580s, established by skilled Flemish immigrants fleeing religious persecution. Small tapestries of this nature were typically conceived as cushion covers and in sets, illustrating related subjects or biblical stories. For a comparable example see Christie's, London, 30 October 1997, lot 216Minneapolis Institute of Fine Art, inventory 23.29.1

This lot includes five hardcover books exploring themes of empires, medieval warfare, crusades, and naval history. Featured titles include Empires: Europe and Globalization 1492-1788 by George Raudzens, analyzing European expansion and its global impact; Religions of Late Antiquity in Practice, an academic compilation of religious practices from antiquity; Knights by Andrea Hopkins, a richly illustrated history of medieval knighthood and chivalry; The World of Jack Aubrey by David Miller, offering an in-depth look at the ships, weapons, and culture of the Royal Navy during the Napoleonic era; and A History of the Crusades, Volume Four: The Art and Architecture of the Crusader States, edited by Harry W. Hazard, a scholarly study on the architectural legacy of the Crusades. These books cater to collectors, historians, and enthusiasts of European history, military strategy, and maritime culture.Dimensions: Largest book: 9.25"L x 0.75"W x 11.25"HCondition: Age related wear.

Bryony Bensly Meadow, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born in Thailand and raised mainly in Hong Kong and England, Bryony Bensly experienced a multicultural upbringing, with artistic influences that ranged from Asian religious art to postmodernism. She had forays into installation art, made sculptures out of organic matter, and then circled back to her first love: drawing and painting. Bensly's work is a juxtaposition of conceptual ideas and realism, manifesting in surreal imagery with a narrative that focuses on our internal and external life. Her current body of work focuses on our interdependence, responsibility, and attitudes towards nature and the environment. She earned her BFA in "Art and Social Context," from Dartington College of Arts and her MFA from the New York Academy of Figurative Art, graduating cum laude. She has shown extensively in Museums and Galleries in England and the US, notably Sotheby's and the annual exhibition of The Royal Society of Portrait Painters. Bensly was a recipient of an artist-in-residence, for 3 years, from the Historic Santa Fe Foundation, and has won awards from the Portrait Society of America and Art Renewal Center, among others. Her work has been chosen to be part of the Luna Codex Collection. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

OLMEC STONE MASK MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mount 20cm high Private collection, United Kingdom, acquired from the belowAcquired in Southern Mexico in the 1950's, thence by descent The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them.The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE PRINCE OF GOALKEEPERS (JOHN THOMSON OF CELTIC F.C.), CIRCA 1968 bronzed resin 101cm wide Note 1: A bronze of this sculpture is in the collection of Celtic F.C. Note 2: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997. Note 3: John Thomson, The Prince of Goalkeepers, is one of the most important figures in the history of Celtic Football Club. Having signed for the team in 1926 at the age of 17, his natural athleticism and brave spirit ensured he would become a mainstay between the sticks. He helped the team to two Scottish Cups and three Glasgow Cups. He would also represent the national side and national select XI four times apiece. Thomson's name will forever be associated with the tragedy that befell him during an Old Firm clash on the 5th September 1931. The match was played at Ibrox in front of 80,000 fans. Early in the 2nd half, Thomson collided with Rangers player Sam English, whilst both going for the ball. Most people assumed the goalkeeper badly injured as he was stretchered off, Chic Geatons taking his place in goal. Upon being transported to the Victoria Infirmary, Thomson would soon be pronounced dead. The death of a young goalkeeper in his prime shocked the footballing world. Beyond that, the tragic loss of a young man's life, only 22 years of age and recently engaged, still stands as amongst the most profound moments in sporting history. 40,000 people attended the funeral in his home town of Cardenden, including thousands who travelled from Glasgow, many walking the 55 miles to the Fife village.

* BENNO SCHOTZ RSA (ESTONIAN 1891 - 1984), THE GOALKEEPER, 1973 bronzed plaster 59cm high including wooden plinth Exhibited: Edinburgh, Benno Schotz Retrospective, Touring Exhibition, 1971, no. 144. Edinburgh, Royal Scottish Academy, Annual Exhibition, 1973, no. 61. A smaller bronze version of this sculpture was exhibited: Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1968, no. 54. Glasgow, Royal Glasgow Institute of Fine Arts, Annual Exhibition, 1985, no. 20. Note: Benno Schotz was born to Jewish parents, Jacob Schotz, a watchmaker, and Cherna Tischa Abramovitch, in Arensburg, Russia (now Kuressaare, Estonia) in 1891. He was educated at the Boys Grammar School of Pärnu, Estonia. Later he studied at the Grossherzogliche Technische Hochschule in Darmstadt, Germany. In 1912, he immigrated to Glasgow, where he gained an engineering diploma from the Royal Technical College and from 1914–23 worked in the drawing office of John Brown and Company, Clydebank shipbuilders while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full-time sculptor in 1923 and subsequently a member of the Royal Scottish Academy, Head of Sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and later, in 1963, Her Majesty's Sculptor in Ordinary for Scotland. His pupils included Hannah Frank, Paul Zunterstein and Inge King (née Neufeld). His homes at West Campbell Street and later Kirklee Road were a focus for meetings of artists, writers, actors, and politicians. His first solo Glasgow exhibition was at Reid's Gallery in 1926 and his first in London at Alex Reid and Lefevre Ltd (Lefevre Gallery) in 1930. He was also a member of Glasgow Art Club, alongside recently arrived refugee artists Jankel Adler and Josef Herman, for whom he organised local Jewish community support. In 1942 he organised the important 'Jewish Art Exhibition' at the Glasgow Institute as an act of Jewish cultural identity during the Second World War. In 1981 Schotz was made a Freeman of the City of Glasgow and in the same year, Gordon Wright published his autobiography, Bronze in My Blood. During his career, Schotz produced several hundred portraits and compositions including figure compositions, religious sculptures, semi-abstracts and modelled portraits, the majority located in Glasgow and the surrounding area. A major retrospective exhibition of his works was held at the Royal Scottish Academy, Edinburgh in 1971. He was Life-President of the Royal Glasgow Institute of the Fine Arts as well as Honorary Member of both the Royal British Society of Sculptors and the Royal Institute of Architects in Scotland. His last sculpture was executed less than six weeks before his death, aged 93. He was a committed Zionist and was buried in Jerusalem. His work is represented in numerous UK collections including The National Galleries of Scotland, Edinburgh City Art Centre, The Kelvingrove Art Gallery, Aberdeen Galleries, The Scottish National Portrait Gallery, BBC Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Peoples Palace (Glasgow), The Scottish Jewish Archives Centre, Ben Uri Gallery & Museum (London) and the House of Commons (London). His work is also held in various public collections in Israel. Christie's held a major Studio Sale of Benno Schotz's work in Glasgow in 1997.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), GONDOLAS acrylic on board, signed, titled versoframedimage size 75cm x 81cm, overall size 93cm x 98cmNote: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

A quantity of French art nouveau silver plate or base metal rouge or loose powder compacts, circular examples including Roman Goddess c1909 4cm diameter, 2 x figural 4cm diameter, couple playing tennis signed Franier c1905 4.5cm diameter, Marianne with cracked ice verso 4cm diameter, religious gentleman 4cm diameter, oval example inscribed Bruges 5cm x 3.5cm and a square Anvers Cathedrale 4cm (8)

A diverse collection of six Buddha and deity busts, representing various artistic styles from China, Thailand, and other Southeast Asian regions. This set includes a Chinese-style head mounted on a wooden triangular stand (15"H), intricately decorated with carved relief scenes of mythological figures. The collection also features ornate, bejeweled Buddha figures, a serene seated Thai Buddha, and a modern green ceramic Buddha head. One piece is marked "Chopsticks Indoro by Soolch, Made in China" on the base (10"H). Black Buddha vase is 8"H. The mix of materials, from ceramic to resin and wood, offers a striking variety, making this an ideal set for collectors of Asian art, religious iconography, or spiritual decor. Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A striking collection of four Hindu deity busts, each crafted from metal and ceramic, showcasing distinct artistic interpretations. This set features a bronze-tone bust wall hanging with finely detailed facial features and traditional curled hair (6"H), a patinated ceramic bust with an aged turquoise finish (9"H) and intricate carvings, a gold-hued deity face mounted on a black display stand (10"H) with a serene expression, and a dark metal bust wall hanging adorned with an elaborate headdress (7.5"), likely inspired by traditional Tibetan or Nepalese designs. Each piece embodies spiritual elegance and masterful craftsmanship, making this collection a captivating addition to any display of religious or cultural art.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

RODIN AUGUSTE: (1840-1917) French sculptor. A.L.S., Rodin, to the recto of a plain correspondence card, Rue de l´Universite (Paris), n.d., to a gentleman, in French. Rodin thanks his correspondent for a citation that ´vous voulez bien faire du sculpteur dans l´etude approfondie que vous avez faite du mouvement religieux de l´art contemporain´ (Translation: ´you are kind enough to make about the sculptor in the in-depth study you have made of the religious movement in contemporary art´). Some light age toning to the right edge and one corner crease, otherwise about VG