HORACE, EX ANTIQUISSIMIS, PLANTIN EDITION,HORACE, EX ANTIQUISSIMIS, PLANTIN EDITION, 1579 Ex Antiquissimis by Horace Flaccus. Printed 1579 by Christophori Plantini. A highly regarded printer and an excellent early edition. Book is bound in period vellum with handwritten titling on the front board and spine. Binding straps are visible. 4to. 648pp with index.
PEDRO JUAN PEPINYA, VALENTINI E SOCIETATE,PEDRO JUAN PEPINYA, VALENTINI E SOCIETATE, 1579 Petri Ioannis Perpiniani Valentini e Societate. Iesu Orationes Duodeuiginti, by Pedro Juan Pepinya (1530-1566). Printed by Mariam Marchettum in 1579. Bound in modern vellum with marbled boards and a gilt label attached on spine. 12mo. 552pp with index.
CICERO, EPISTOLARUM AD ATTICUM, PRINTEDCICERO, EPISTOLARUM AD ATTICUM, PRINTED 1579 A vellum bound edition of Epistolarum Ad Atticum by Cicero. Published in 1579 in Venice. Cicero's letters to his friend Atticus. Bound in vellum with a handwritten title on the spine. 12mo. 774pp.
SPANISH RELIGIOUS LAST SUPPER BAS-RELIEFSPANISH RELIGIOUS LAST SUPPER BAS-RELIEF PANELSpanish religious bas-relief metal panel, mid 20th c., "Ultima Cena de Jesus" (The Last Supper), after the original painting by Juan de Juanes (Spain, 1507-1579), depicting Jesus and his disciples, approx 22"h, 33.75"w, 6.75lbs
CATALOGUE RAISONNES, JOAN MIRO (lotCATALOGUE RAISONNES, JOAN MIRO (lot of 3) "Joan Miro Lithographs, Volume I, II, III," 1992, 1995, and1977, catalogue raisonnes, English editions, published by Tudor Publishing Company, New York (I) and Maeght Editeurs, Paris (II, III), editions 2853/5000, 1579/5000, and 1550/5000, largest overall: 13"h x 10.25"w
HINGED PARASOL HN1579 - ROYAL DOULTONHINGED PARASOL HN1579 - ROYAL DOULTON FIGURINEHandpainted dress in red, purple. Royal Doulton backstamp.
Handpainted title and HN.
Artist: Leslie Harradine
Issued: 1933-1949
Dimensions: 6.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Overall good
HINGED PARASOL HN1579 - ROYAL DOULTONHINGED PARASOL HN1579 - ROYAL DOULTON FIGURINEHarradine Classics. pink and purple coloration. Marked Potted By Doulton and Co.
Doulton backstamp. Light age related crazing.
Issued: 20th c.
Dimensions: 6.5"H
Manufacturer: Royal Doulton
Country of Origin: England
PEREGRINE FALCON HN3541 - ROYAL DOULTONPEREGRINE FALCON HN3541 - ROYAL DOULTON FIGURINEMatte porcelain, handmade. Stands on wooden base with polished metal name plate.
Royal Doulton backstamp. Sculptor Graham Tongue signature. Stuart R. Lyons signature on base. Good condition. #royaldoulton #peregrinefalcon #bird #vintage
Artist: Graham Tongue
Issued: 1989
Dimensions: 11"H
Edition Number: 1579 of 2500 Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good condition.
HINGED PARASOL - HN1579 - ROYAL DOULTONHINGED PARASOL - HN1579 - ROYAL DOULTON FIGURINEPart of the Harradine Classics series. Pink and purple coloration. Marked Potted By Doulton and Co. Hand written title and HN number.
Artist: Leslie Harradine
Issued: 1933 - 1949
Dimensions: 6.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Age related wear.
HINGED PARASOL HN1579 - ROYAL DOULTONHINGED PARASOL HN1579 - ROYAL DOULTON FIGURINEFigure of a woman holding an umbrella. Pink, lilac, and green coloration.
Royal Doulton backstamp.
Artist: Leslie Harradine
Issued: c. 1933-1949
Dimensions: 4" L x 4.75" W x 6.25" H
Manufacturer: Royal Doulton
Country of Origin: England
Condition: : Age related wear.
High Res Image 1
High Res Image 2
High Res Image 3
Condition:
Age related wear.
SEBASTIAN MINIATURES CERAMIC GIRL ONSEBASTIAN MINIATURES CERAMIC GIRL ON SKATES FIGURINEHand cast and hand painted figural of girl on roller skates. Sebastian Miniatures backstamp. P.W. Baston imprint in base. Limited edition 1579 of 10,000.
Artist: Prescott W. Baston
Issued: c.1978
Dimensions: 1.25"L x 1.25"W x 3.25"H
Manufacturer: Sebastian Miniatures
Country of Origin: United States
Condition:
Age related wear.
2PC GOEBEL HUMMEL PORCELAIN FIGURINES,2PC GOEBEL HUMMEL PORCELAIN FIGURINES, LOVE LETTERSLimited edition hand painted figure Loving Wishes (HUM 573/2/0) with special edition sculpted musical base Love Letters with swinging door and plays A Flower Song. Goebel Hummel markings. Secret rolled up love letters hidden on the side. Certificate of authenticity included. Loving wishes: 2.5"L x 2"W x 4.5"H. Love Letters: 7.25"L x 5"W x 5.75"H.
Issued: 21st century
Edition Number: 1579 of 10000 Manufacturer: Goebel Hummel
Country of Origin: Germany
Condition:
Age related wear. Tested, functionality not guaranteed.
16TH CENTURY FLORENTINE OIL PORTRAIT,16TH CENTURY FLORENTINE OIL PORTRAIT, MEDICIItalian Florentine oil on board portrait of a gentleman, late 16th century; possibly Pietro di Cosimo deà Medici, the son of Cosimo I de Medici, Grand Duke of Tuscany (1519-1574). "Petrus Magni Cosmi R" painted in gold lettering above the sitter. Unsigned. En verso, "No. 57" written in script, lower edge of bracing, along with two red wax seals. The seal decorated with a ship possibly dates to the 17th century, while the other with the initials "JH" possibly dates to the 18th century. Cross bracing applied to back of the painted panel. Housed in a gilt wood frame. Sight - 25 1/2" H x 20" W. Framed - 30" H x 24 1/2" W. Late 16th century. Provenance: Blount County, TN Living Estate. Note - From the late 14th century to the 18th century, the Medici family was one the most prominent and wealthy families in Italy, with its members included among the ranks of eminent bankers, politicians, papacy, and European royalty. Their enduring legacy is evident by their patronage of early and High Renaissance artists and architects, including Botticelli, Leonardo da Vinci, Raphael, Michelangelo, Brunelleschi, and Vasari. Pietro de' Medici (1554-1604) was the youngest son of Cosimo I de' Medici, In 1571, he married his first cousin, Eleonora di Garzia di Toledo, whom he accused of adultery and is believed to have strangled (by some accounts, with a dog leash) in 1576. He spent considerable time in Spain, where he began to accumulate large gambling debts, and had a number of illegitimate children. In 1579, he brought Italian troops to Spain and led them on a mission to Portugal. An arranged marriage to the daughter of the Portuguese Duke of Vila Real did little to stabilize his finances; he eventually sought help from the Pope (unsuccessfully) in his efforts to use part of the family fortune to cover his debts. He died deeply in debt before the age of 50.
Condition:
Cradling verso. Dry painted surface with light grime, uneven varnish surface, scattered paint losses to forehead, left shoulder, right background near collar. Blacklight does not indicate any significant inpainting or restoration.
CORUM GOLD COIN AND 18K GOLD LADY'SCORUM GOLD COIN AND 18K GOLD LADY'S WATCHCorum. A lady's American five dollar gold coin and eighteen karat gold strap wristwatch 18 jewel movement number 161579 in a five dollar American gold coin case number 322189, dated 1880 and attached to a strap with 18 karat gold Corum buckle. Diameter: 24mm
Condition:
Overall condition: very good Movement: 18 jewel mechanical number 161579, no corrosion, discoloration or excessive wear. Sets, windws and runs. Case back: obvers of coin dated 1880, light scratches Strap: in good to very good condition, clasp in very good condition. Dial: in very good condition. Numerals and logo in very good condition, hands and dial original.
AN ITALIAN BRONZE GROUP OF THE FARNESEAN ITALIAN BRONZE GROUP OF THE FARNESE BULL, CIRCA 1890...AN ITALIAN BRONZE GROUP OF THE FARNESE BULL, CIRCA 1890, after the Antique, nicely modeled and detailed throughout with a lovely blackish to cocoa brown patination, each separately cast figure centering an enraged bull while standing on a rectangular stylized groundwork base, above shallow relief sides depicting foraging deer, wild boars, a pouncing lion, a combatting bear as well as other predatory and prey animals interspersed with sinuous serpents. Height: 15" Width: 11 1/2" Depth: 11" Note: The Farnese Bull is an ancient Roman marble group after the Greek Hellenistic original (50 B.C) by the brothers Apollonius and Tauriskos of Trakeis. The Roman model was originally excavated in 1545 amidst the Baths of Carcalla in Rome. It was named after Pope Paul III Farnese (1534-1549) and moved to the Palazzo Farnese. In 1579 it was restored by the sculptor Gian Battista Bianchi who was also the first to make bronze castings of this marble shortly after its' restoration was complete. During the next four centuries up to the early 20th century, bronze reproductions were made but the advent of the Grand Tour in the 19th Century and Naples as a destination led to several foundries in that city to produce some fine examples. The Roman Farnese Bull marble can be found today in the National Archaeological Museum in Naples, Italy. The Farnese Bull sometimes called the Punishment of Dirce is taken from a tragic Greek story and depicts the brothers Amphion and Zethus seeking revenge on Queen Dirce for cruel treatment of their mother Antiope, by tying her hair to the horns of an angry bull.
Condition:
Good to very good condition with some slightly loose figures and Antiope is lacking her spear, surface and crevice buildup throughout otherwise, no discernible issues. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
AN ITALIAN BRONZE GROUP OF THE FARNESEAN ITALIAN BRONZE GROUP OF THE FARNESE BULL, AFTER THE ...AN ITALIAN BRONZE GROUP OF THE FARNESE BULL, AFTER THE ANTIQUE, CAST BY THE NELLI FOUNDRY, ROME, LATE 19TH CENTURY, nicely chased with intricate details throughout and each separately cast figure centering an enraged bull while standing on a rectangular stylized groundwork base, above shallow relief sides depicting foraging deer, wild boars, a pouncing lion, a combatting bear as well as other predatory and prey animals interspersed with sinuous serpents, small rectangular stamp "NELLI / ROMA," raised on a conforming rosso antico marble block plinth and a stepped Belgian black marble molded base, height: 17", width: 14", depth: 14"; including the marble plinth, height: 21 1/4", width: 15 1/8", depth: 15 1/8". Note: The Farnese Bull sometimes called the Punishment of Dirce is taken from a Greek tragedy and depicts the brothers Amphion and Zethus seeking revenge on Queen Dirce for cruel treatment of their mother Antiope, by tying her hair to the horns of an angry bull. The original Farnese Bull is an ancient Roman marble group after the Greek Hellenistic original (50 B.C) by the brothers Apollonius and Tauriskos of Trakeis. The Roman model was originally excavated in 1545 amidst the Baths of Carcalla in Rome. It was named after Pope Paul III Farnese (1534-1549) and moved to the Palazzo Farnese. In 1579 it was restored by the sculptor Gian Battista Bianchi who was also the first to make bronze castings of this marble shortly after its' restoration was complete. During the next four centuries up to the early 20th century, bronze reproductions were made but the advent of the Grand Tour in the 19th Century and Naples as a destination, led to several foundries in that city to produce some fine examples. The Roman Farnese Bull marble can be found today in the National Archaeological Museum in Naples, Italy.
Condition:
Good condition with expected surface buildup in crevices, some rubbed surface areas, old scratches, and traces of gilding throughout. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.” NO REFUNDS will be issued based on condition.
ABRAHAM ORTELIUS - 16TH CENTURY MAPABRAHAM ORTELIUS - 16TH CENTURY MAP OF NORTH AND SOUTH ...Abraham Ortelius (1527-1598), Americae Sive Novi Orbis Nova Descriptio, Antwerp , circa 1579, text in Latin verso, second edition, from Ortelius's Theatrum Orbis Terrarum , engraving on laid paper with hand coloring, sheet 17-1/2 x 21-7/8 in.; carved and painted frame, 25 x 30 in.
Condition:
taped in at edges on mat with archival tape, some toning/corrosion from green verso, tape residue/toning along join line, some scattered light staining; frame with light wear
AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS,AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS, 1ST DUKE OF...AN IMPORTANT PORTRAIT OF ROBERTO D'ALTEMPS, 1ST DUKE OF GALLESE (ITALIAN SCHOOL, LATE 16TH CENTURY)
Oil on canvas, unsigned. The subject in lace ruff above silver collar with the crowned heraldic crest of a ram with shield above an armored vest with red cross; holding a scroll in his right hand.
The Latin phrase "RVBERTVS DVX ABALTAEMPS BVRGI GVBERNATOR CVSTODIAE PONTIFICIAE ET AVENIONEN GENERALIS PRAEFECTUS" painted above the whole.
The sitter, Roberto d'Altemps, was the illegitimate son of Marco Sittico Altemps and of the woman he loved, the Genoese Camilla Bonfiglio, to whom Marco Sittico privately sent (as stated in the ledger of 1577) a monthly pension. His father, who was embarking on an ecclesiastical career, subsequently recognized and legitimized his son, but nevertheless decided to continue his ecclesiastical career which led him to the rank of cardinal, also sponsored by his cousin Carlo Borromeo .
He grew up under the protection of his father and above all of Gregory XIII with whom the Altemps family had excellent relations, and like other young nobles of his time he had a decisive and strong-willed character, but at the same time his father tried to root his family in the Roman nobility through a prestigious marriage and for this reason Roberto was married to Cornelia Orsini (December 1576), daughter of Virginio, 1st Duke of San Gemini, exponent of the ancient and powerful Orsini dynasty of Rome. In the same year of his marriage, Roberto would be created Duke of Gallese by Pope Gregory XIII. In 1579, Roberto was also appointed prefect of the papal armies in Avignon and his father had provided him with the fiefdoms of Soriano, Rocchette, Tassignano and Mesuraca from the Madruzzos.
In 1585 with the death of Gregory XIII, a new pope, Sixtus V, ascended the throne of Peter, who immediately tried to put a stop to the power of the noble Roman families over the papal curia and to moralize customs. The new pontiff was well aware of the delicate situation involving Roberto's father, as well as the character of the young man, whose hasty ways he certainly did not appreciate. Furthermore, the Altemps had been one of his opponents during the last conclave that had led to his accession to pontiff and had opposed him with a group of traditionalists who wanted to maintain the status quo of the curia.
With an ad hoc trial, Roberto was accused of adultery at the age of twenty and sentenced to death by decapitation at the behest of Sixtus V in 1586. The pleas of his cardinal father were useless to which the pontiff replied contemptuously: "there can be no clemency for those who break the laws, even if they are young, noble or prelate". Before Roberto's execution, he also wrote to the pontiff Cornelia, the young man's wife, who was carrying the couple's child, but always without success.
Marco never recovered from the death of his son and, although not knowing that he could not be personally accused of crimes, he temporarily decided to leave his posts, while Sixtus V still raged against him and his family by publishing the apostolic constitution Postquam verus of 1586, Sixtus V had established that anyone who had offspring could not become a cardinal, which would have led Marcus to be excluded from the college of cardinals.
He retired to Palazzo Altemps in Rome where he dedicated himself to modernizing the building, having the large loggia of the structure and the interior frescoed with a series of metaphors, allegories and typical symbols of esotericism, to recall the unfair trial suffered by his son. Pope Clement VIII , who still as a cardinal had discreetly supported the Altemps and who, in private, had always criticized the death of his cardinal friend's son, decided to "repay" the offense suffered by his family by donating in 1602 to the son of Roberto, Giovanni Angelo, the body of Pope Sant'Aniceto, martyred by decapitation.
Stretcher: 26 x 20 3/4 in. (66 x 52.7 cm.), frame: 30 3/4 x 25 1/4 in. (78.1 x 64.1 cm.)
13 PC. ROYAL DOULTON LADY FIGURES: 1)13 PC. ROYAL DOULTON LADY FIGURES: 1) ''French Peasant'', HN 2075, Copr. 1950; 2) ''The Bride'', HN 1600, RdNo 784853, Potted by Doulton & Co.; 3) ''Jacqueline'', HN 2001, Copr. 1946; 4) ''Clemency'', HN 1633, Potted by Doulton & Co., 5) ''Hatsepshut'', HN 1491, Egyptian Queens Series, Limited Edition #157/950; 6) '' Ankhasenamun'', HN 4190, Egyptian Queens Series, Limited Edition #307/950; 7) ''Sweet Maid'', HN 1505, Potted by Doulton & Co,; 8) ''Nadine'', HN 1886, RdNo 831408; 9) ''The Hinged Parasol'', HN 1578, Ca 1942; 10) ''Fiona'', HN 1933, RdNo 837490; 11) ''All a Bloomin'', RdNo 762874; 12) ''The Hinged Parasol'', HN 1579; 13) RARE ''Sibell'', HN1695.
TIFFANY STUDIOS, NEW YORK
PAIR OF 'QUEENTIFFANY STUDIOS, NEW YORK
PAIR OF 'QUEEN ANNE'S LACE' PATTERN TALL CANDLESTICKS, CIRCA 1900 patinated bronze, blown glass, stamped marks to base TIFFANY STUDIOS/ NEW YORK(2)46cm highLiterature:Duncan A. Tiffany: Lamps & Metalware, ACC 2007, pp.386 and 387, pls.1577 and 1579 where similar variants are illustrated.
SPRINGFIELD ARMORY 1906 BAYONET & R.I.A.SPRINGFIELD ARMORY 1906 BAYONET & R.I.A. SCABBARD Springfield Armory 1906 bayonet sword, marked "S A / 1906 / US / 157920" to blade, inscribed "N.Y. / E 3" to wooden handle, together with leather scabbard marked "RIA" for Rock Island Artillery and "1907 / H.E.K / CO L Sheathed: 9" 22" L x 4" W.
MANNER OF FRANS SNYDERS AFTER THE HUNTMANNER OF FRANS SNYDERS AFTER THE HUNT STILL LIFEUnframed oil on stretched canvas painting, After the Hunt, in the manner of Frans Snyders (Flemish, 1579-1657), with deer, game birds, lobster, broken blue and white pitcher, hunting dogs, multiple tears and loses, patched repairs to canvas, sight: approx 58"h, 94"w, overall: 61"h, 97"w **Provenance: a prominent Houston, Texas estate**
LODINUM FERACISSIMI ANGLIAE REGNI METROPOLISLODINUM FERACISSIMI ANGLIAE REGNI METROPOLIS MAPGeorge Braun and Franz Hogenberg, Published, Cologne, 1579, engraved by Hoefnagel, with four figures in foreground, a decorative cartouche, the arms of Queen Elizabeth displayed in the top left hand corner, with the arms of the City on the right, text in Latin on the reverse. Hand colored later, framed, mounted with conservation back for viewing. Site measurement 12.25 in by 18.5 in.
A TIFFANY STUDIOS DOUBLE-ARM BRONZEA TIFFANY STUDIOS DOUBLE-ARM BRONZE CANDLESTICKA Tiffany Studios double-arm bronze candlestick, Circa 1900-1902; New York, NY Signed: Tiffany Studios / New York / [T.G.D.Co. monogram] The patinated bronze candlestick with floral motif base and inset green Favrile glass cabochons issuing two curved arms terminating in green blown Favrile glass capitals with removable bobeches 12.875" H x 8.75" W x 5.5" D Provenance: The Alan Schneider Collection Literature: Alastair Duncan, "Tiffany Lamps and Metalware," 2007, p. 387, fig. 1579. Dimensions: 12.875" H x 8.75" W x 5.5" D Provenance: The Alan Schneider Collection
ABRAHAM ORTELIUS, FLEMISH 1527-1598,ABRAHAM ORTELIUS, FLEMISH 1527-1598, MAP OF CENTRAL MEXICO 'HISPANIAE NOVAE SIVAE MAGNAE, RECENS ET VE RA DESCRIPTIO,' 1579, HAND COLORED ENGRAVING, FRAME: 17 1/4 X 22 3/4 IN. (43.8 X 57.8 CM.)ABRAHAM ORTELIUS, FLEMISH, 1527-1598 MAP OF CENTRAL MEXICO 'HISPANIAE NOVAE SIVAE MAGNAE, RECENS ET VE RA DESCRIPTIO,' 1579, Hand colored engraving Double-sided, large ornate decorative cartouche with interwoven forms and grotesques, table at lower right Hand colored engraving Dimensions: Frame: 17 1/4 x 22 3/4 in. (43.8 x 57.8 cm.) Provenance: Private Maryland and Massachusetts Estate Collection
SCOTTISH RENAISSANCE DOCUMENT, 1572SCOTTISH RENAISSANCE DOCUMENT, 1572 James Sandiland (c.1511-1579, sometime Grand Master of the Knights Hospitaller, 1st Lord Torphichen) original manuscript document in Latin and English, June 3, 1572, to John Browne, with a large seal affixed; faintly endorsed verso; 1 p., on vellum, 8 x 9 1/2 in.
SPANISH, 16TH C. OIL ON PANEL OF THESPANISH, 16TH C. OIL ON PANEL OF THE CRUCIFIXIONSpanish 16th c. oil on panel of the Crucifixion , attributed verso to Juan de Juanes (Vicente Juan Masip) (Spanish 1507-1579), with figure of Christ on the cross attended by the Virgin Mary and holy women, in a detailed landscape with city and mountains, 13 1/8" x 10 1/8". Provenance: The Estate of John Donnelly, Penn Valley, Pennsylvania.
Competitive in-house shipping is available for this lot.
Condition:
Repaired break to panel.
SMITH & WESSON M&P-15 SEMI-AUTOMATICSMITH & WESSON M&P-15 SEMI-AUTOMATIC RIFLESmith & Wesson M&P-15 semi-automatic rifle, 5.56 Nato, birdcage flash hider, adjustable stock, flip up adjustable rear sight, pictanny rail, two magazines, 16 1/2" barrel. SN #SY15795 R
All handguns requiring registration must be shipped FedEx priority overnight. Some states have additional restrictions, so please make yourself aware of them prior to purchase (i.e. ammunition and firearms cannot be shipped to California). Visit www.atf.gov for more information on shipping firearms .
NO in-house shipping for this lot.
Condition:
Excellent condition.
NEW YORK GOTHIC MAHOGANY PIER TABLE,NEW YORK GOTHIC MAHOGANY PIER TABLE, CA. 1850New York Gothic mahogany pier table, ca. 1850 , with carved and gilt decoration on apron, quatrefoil cut-out side panels, and original marble top, 30 3/4" h., 32" w., 15 1/2" d. Provenance: Doyle, Estate of Lee B. Anderson, September 19, 2012, lot 1579; Property from the Collection of Dr. Larry McCallister.
NO in-house shipping for this lot.
Condition:
Missing one of the carved brackets, crack on both sides near edges of lower quatrefoils.
1683 BIOGRAPHY OF SAINT TORIBIO OF MOGROVEJO1683 BIOGRAPHY OF SAINT TORIBIO OF MOGROVEJO El Sol del Nuevo Mundo Ideado y Compuesto en las Esclarecidas Operaciones del Bienaventurao Toribio Archbispo de Lima [The Sun of the New World Conceived and Composed in the Enlightened Operations of the Blessed Toribio Archbishop of Lima] First and only biography of Saint Toribio of Mogrovejo (Spanish/Peruvian, 1579 - 1606), the second archbishop of Lima, Peru, written by Francisco Antonio de Montalvo, published in 1683 by Angel Bernavo in Rome. Saint Toribio of Morgrovejo was born in Spain to a noble family. He became a professor of law and taught at several universities including Salamanca and Coimbra. He was appointed to the position of Grand Inquisitor to the Inquistion Court by King Phillip II. He found great success in that role and was chosen by the king to become the new Archbishop of Lima, despite the fact that he was not a priest. Through the will of the pope and the king, he was quickly ordained and became the Archbishop of Lima. During his tenure, he was known for his insistence on preaching to the indigenous people in their own language and protecting them from exploitation. He became the spiritual advisor to many who are now famous saints, such as Saint Rose of Lima, Saint Martin de Porres and Saint Francis Solano. It is said that he predicted his own death to the day and the hour. Folio (294 x 210 mm). Two full-page engravings by Benoit Thiboust (French, 1660? - 1719?), engraved device on title, woodcut initials and ornaments, contemporary vellum wrapper. Condition: Folio: heavy worming at inner margin, with first few leaves detached, some leaves browned, and few spots of ink burn. Wrapper: front pastedown loose, some light worming and staining. Provenance: Early underlining and annotations from Don Celedonio Gaspar de Bustillos, one ownership inscription dated to 28 April 1793. Previously owned by Pedro and Miriam Knopp Beltran, former Prime Minister of Peru.
Richard Earlom (British, 1743-1822)
AfterRichard Earlom (British, 1743-1822)
After Frans Snyders (1579-1657)
A Concert of Birds, 1778
engraving
14 1/4 x 22 1/4 inches.
FRENCH BURGUNDY 1579 MAP BURGUNDIAEFRENCH BURGUNDY 1579 MAP BURGUNDIAE BY FERDINANDO LANNOYO (FLEMISH, 1527 - 1598) , HAND COLORED ENGRAVING, ABRAHAM ORTELIUS ATLAS. 15 1/2"H X 19 1/2"W (IMAGE), 25"H X 31"W (FRAME)French Burgundy 1579 map Burgundiae by Ferdinando Lannoyo (Flemish, 1527 - 1598) , hand colored engraving, Abraham Ortelius Atlas., Dimensions: 15 1/2"H x 19 1/2"W (image), 25"H x 31"W (frame)
THE MILDMAY SERVICE – A PAIR OF GEORGETHE MILDMAY SERVICE – A PAIR OF GEORGE I BRITANNIA STANDARD DINNER PLATES Paul de Lamerie, London 1725, each of circular outline with a moulded border, engraved with armorial and crest to border, the reverse engraved with numbers 14 and 34 and with scratch weights 20:18 and 20:15 respectively(2)Diameter: 24cm, combined weight: 35ozProvenance:The Estate of Ray Slater Blakeman; Christie's, New York, 15 October 1985, lot 313 and 314 with Sandra Lipton, London, May 1989.Sotheby’s Auction, 17th November 2010, Fine Furniture, Tapestries, Silver, Ceramics, Clocks and Rugs, Lot 15Heraldry:The arms are those of Mildmay quartering Fairfax with Schomberg in pretence for Benjamin Mildmay, 19th Baron FitzWalter and 1st Earl FitzWalter.Note:Benjamin Mildmay, Baron and later Earl FitzWalter (1672-1756) The rapid social ascendancy of the 1st Earl of FitzWalter is an example of the nature of Georgian wealth and is visible in his commissions and the alterations to his stately home, Moulsham Hall in Essex.In 1724, at the age of 51, Mildmay married the widowed Lady Frederica Susanna, daughter of the 3rd Duke of Schomberg, who was famed for his role in the Battle of the Boyne. This consequently gave Mildmay access to Schomberg House, on Pall Mall, and therefore also to the heart of London society. Soon after, in 1728 he inherited the Barony of FitzWalter from his elder brother, who had died without issue, and then in 1730 he was given the title of Viscount Hardwich, in the county of Essex, and Earl FitzWalter; all in a mere six years.Moulsham Hall in Essex, formed part of the estate he inherited from his late brother. The hall was originally built in 1540 by Thomas Mildmay, and it would remain in the family for over 300 years. Indeed, it was esteemed enough to host Elizabeth I for four days on her annual progress in 1579, before being refashioned in 1591 into a grader Tudor home.In 1728 as soon as Mildmay inherited the property, he, along with the architect Giacomo Leoni, transformed the house into a Neo-Classical mansion in the Palladian style. Together they were extremely methodical about keeping records for each purchase and transaction. These records are now archival material held with Essex record office, and they show the wealth and investment for both the exterior and interior of the house.Mildmay himself had established a successful government career, from 1720-28, he was Commissioner of the Excise and was later promoted to Treasurer of the Household in 1737. The fusion of his career, his inheritance and his marriage meant that Mildmay was able to commission only the best and most fashionable craftsmen of the time.In 1725, he ordered ‘12 Dishes & 3 Dozen of plates’ from the well-respected Huguenot silversmith Paul de Lamerie, as detailed in the Essex Record office. It is most likely that these plates, dated 1725, were commissioned to mark his marriage with the engraved armorials enforcing this. The Essex Record Office hold invaluable account details and show that a further service of dinner plates was commissioned in 1737 and this is most likely linked to his appointment as Treasurer of the Household as he had an entitlement of 1000oz of plate for his own use from the Jewel House.Furnishing one’s abode with plate was the ultimate Georgian display of wealth, contemporary peers of Mildmay also chose to display their wealth by investing in plate. George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years also invested in a silver service and also chose Paul de Lamerie to craft his wares. Lyon & Turnbull offered one serving dish from his service in March of 2022, Lot 130, achieving £7,800.De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his mark in 1712. The continent was to continue to inspire his work, from the 1730s he was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided by his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commissioned a wine cistern in 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.Mildmay died without issue, leaving the house and contents with no viable heir. The house was later occupied by defensive forces fearing an invasion during the Napoleonic Wars and eventually demolished, but the furnishings are unaccounted for. Whenever items do appear at auction, there is always much anticipation. Twelve similar plates, also marked for 1725, are currently housed in the Sterling and Francine Clark Art Institute in Massachusetts (acquisition number 1955.405).
LARGE ROYAL COPENHAGEN BLUE FLOWERSLARGE ROYAL COPENHAGEN BLUE FLOWERS BRAIDED CHINA DINNERWARE (134) pieces, to include: (14) dinner plates #8097 (10 1/8 in.); (11) dessert plates #8094 (7 1/2 in.); (18 ) bread & butter plates #8092; (11) salad plates #8095 (8 1/4 in.); (10 ) deep plates #8105; (5) soup plates #8106 (2 x 9 1/4 in.); (14) flat cups and (16) saucers #8261; (4) flat bouillon cups and (6) saucers #8282; (3 ) flat cups and (8) saucers #8049; (4) shakers (two salt and two pepper.) Total (124). Accessory items include: (2) platters (14 1/2 in. and 13 1/8 in.); a covered dish #8178; a reticulated basket #1579; a round serving bowl; a square serving bowl; a gravy with integral tray; a bread tray #8072; an individual sauce boat; a large vase #1791 (9 in.). Total (10) pieces.
LOT OF 20 EUROPEAN PRINTS AND ETCHINGSLOT OF 20 EUROPEAN PRINTS AND ETCHINGS SPANNINGFROM THE 16TH CENTURY TO THE 18TH CENTURY. TO INCLUDE: JOHN BROWNE (1742-1801, ENGLAND) ENGRAVING PUBLISHED BY JOHN BOYDELL (1719-1804) “THE CASCADE" PRINTED IN 1786, AFTER GASPARD DUGHET, DEPICTS A VERDANT LANDSCAPE WITH MERCURY STEALING A COW, APOLLO PLAYING A PIPE, AND ANOTHER FIGURE CLIMBING OVER THE ROCKS (SIGHT SIZE 19 1/2" X 11 1/2", HAS BEEN LAID DOWN ON CARDBOARD, SHOWS CHIPPING AND LOSS TO BORDER, 6 1/2" TEAR AND A 4" TEAR, FOXING AND DISCOLORATION). JOHANN BALZER (1738-1799, CZECH AND BOHEMIAN) ENGRAVING OF A EUROPEAN VILLAGE SCENE WITH A RIVER, WATERFALL, BRIDGE, AND PEOPLE MILLING ABOUT (SIGHT SIZE 13" X 20", NOT LAID DOWN, SHOWS SEVERAL TEARS ON THE EDGES INTO THE BORDER WITH TWO INTO THE PRINT ITSELF, STAINING AND FOXING. THE IMAGE, HOWEVER, IS IN GOOD CONDITION). JOHANN BALZER (1738-1799, CZECH AND BOHEMIAN) ENGRAVING DEPICTING A PASTORAL FARMING SCENE WITH CATTLE AND MAIDEN (9 1/2" X 15", FOLDS AND CREASES, NOT LAID DOWN, FOXING). ENGRAVER GERARD HOETE (1648-1733, DUTCH) AND PUBLISHER GILLIAN VAN DER GOUWEN (1657-1716, FLEMISH) ENGRAVING DEPICTING ABRAHAM SAVING LOT, HIS DAUGHTERS, AND WIFE, DESCRIPTIONS AT BASE IN A VARIETY OF LANGUAGES (15" X 9 1/2", UNBACKED, SOME PAPER LOSS TO THE EDGES, CREASES, FOXING). 18TH C. ENGRAVING BY RENALDI, DRAWN BY BOCOUET, PRINTED IN PARIS, DEPICTS A RURAL SCENE WITH THATCHED ROOF COTTAGE WITH FIGURE IN THE FOREGROUND (8 1/2" X 10 1/2", SHOWS SOME TEARS AND LOSSES INTO BORDER, STAINING AND FOXING). MICHEL LASNE (1590-1667, FRENCH) L’ASTREE, PARIS, A. DE SOMMOVILLE, ENGRAVING DEPICTING DUELING A SCENE FROM THE BOOK BY HONORE D’URFE L’ASTREE (6 1/2" X 8 1/4", SHOWS CREASING AND FOLDING TO CORNERS, OTHERWISE GOOD SHAPE). ELIAS BÄCK (1679-1747, AUGSBURG, GERMANY) ENGRAVING DEPICTING A CLASSICAL LANDSCAPE WITH FIGURES IN THE FOREGROUND AND PALACE IN THE BACKGROUND (SIGHT SIZE 8 1/2" X 12", CREASE DOWN THE MIDDLE, SOME PAPER LOSS AT BORDER, FOXING). MICHEL LASNE (1590-1667, FRENCH) ENGRAVING DEPICTING OF A SCENE FROM L’ASTREE (7" X 8 1/2", SOME FOXING, SOME PAPER LOSS). 1755 ETCHING BY JEAN PILLEMENT (1728-1808, FRENCH) THE NEW BOOK ON CHINESE ORNAMENTS", ETCHING PRINTED BY ROBERT SAYER OF LONDON (16" X 11", SOME CREASING, FOXING, AND PAPER LOSS). ENGRAVING BY FILIPPO MORGHEN (1730-1807, NAPLES) DONE AFTER 1783, PLATE NO. 7 FROM THE COLLECTION OF THE MOST NOTABLE THINGS SEEN BY JOHN WILKINS, ERUDITE ENGLISH BISHOP ON HIS FAMOUS TRIP FROM THE EARTH TO THE MOON, “PUMPKINS USED AS DWELLINGS TO SECURE AGAINST WILD BEASTS" (13" X 17 1/2", SMALL TEARS, STAINING AND FOXING). ANOTHER ENGRAVING BY FILIPPO MORGHEN (1730-1807, NAPLES) DONE AFTER 1783, PLATE NO. 2 FROM THE COLLECTION OF THE MOST NOTABLE THINGS SEEN BY JOHN WILKINS, ERUDITE ENGLISH BISHOP ON HIS FAMOUS TRIP FROM THE EARTH TO THE MOON, “A NEW DEVICE TO CLEAVE WILD BEASTS FROM HEAD TO TAIL" (12 1/2" X 17 1/2", CREASING, STAINING, AND FOXING). JOHN ELIAS RIDINGER (1698-1767, GERMAN) ENGRAVING CA 1745, DEPICTING A HUNTING SCENE (20 1/4" X 14", SOME STAINING AND CREASING, MINOR TEARS). COLORED LITHOGRAPH PRINTED BY E. G. MAY IN FRANKFURT (1845-1914), DEPICTING “THE CONFESSION" (20" X 14", SOME FOXING, MINOR TEARS). JOHN ELIAS RIDINGER (1698-1767, GERMAN) ENGRAVING CA. 1731 DEPICTING A HUNTING SCENE (20" X 14", SOME STAINING, CHIPS TO BORDER, CREASING). ENGRAVING BY AEGIDUS BICHEL, PUBLISHED BY JOSEPH FRIEDRICH LEOPOLD (1668-1726, AUGSBURG) PLATE FROM A SUITE OF 9 DESIGNS FOR FRENCH FOLIATE SCROLLS, TITLED ALLERHAND INVENTIONES VON FREANZÖSISCHEN LAUB-WRECKH (15" X 10", FOXING, STAINING, TEARS, CREASES, CHIPPING TO EDGES). UNKNOWN ARTIST AFTER MAERTEN DE VOS (1532-1603, ANTWERP) PRINTED BY GERARD DE JODE (1509/17-1591, NETHERLANDS) PRINTED BETWEEN 1579 AND 1585, “THE TEMPTATION IN THE WILDERNESS FROM THE LIFE OF ST JOHN THE BAPTIST AND CHRIST, ALSO CALLED DEVIL TEMPTING CHRIST" (8" X 11", SOME FOXING, CREASING). LE VEAU AFTER WEIROTTER (CA. 1780) COPPER ETCHING PUBLISHED IN PARIS, VIEW OF ROTTERDAM (11" X 14", CHIPPING TO EDGES, FOXED, CREASED). 18TH CENTURY ITALIAN, POSSIBLY VENETIAN, MARITIME ETCHING, UNKNOWN ARTIST, DEPICTING AN ENGLISH MERCHANT SHIP, A SPANISH WARSHIP, A SWEDISH MERCHANT SHIP, AND A SWEDISH WARSHIP (10" X 14", STAINING, CREASING, AND CHIPPING TO EDGE). SMALL ENGRAVING DEPICTING A EUROPEAN HUNTING SCENE, CATHEDRAL IN BACKGROUND (4" X 5 3/4", SMALL TEAR, SOME DISCOLORATION). ENGRAVING PUBLISHED IN THE GENUINE AND COMPLETE WORKS OF FLAVIUS JOSEPHUS, CA. 1785-86, PLATE 26, DEPICTING “MANASSEH, KING OF JUDAH, LOADED WITH CHAINS, AND CONFINED IN PRISEN AT BABYLON BY ORDER OF KING ESARHADDEON" (17" X 10 1/2" (AT WIDEST WIDTH) PAPER LOSS, CHIPPING TO EDGES, FOXING).
ABRAHAM ORTELIUS 1579 MAP OF SOUTHERNABRAHAM ORTELIUS 1579 MAP OF SOUTHERN SPAIN.Engraved and hand colored. A detailed map of Andalusia. Map is centered on Seville and includes the Bay of Cadiz. The map is finely engraved to depict typography and features a sea battle. Image size is 13 3/4" x 18", sheet size 18 1/2" x 22". Overall good condition with a 3" tear out to the top left corner.