A few examples of appraisal values for
PORCHE

• LOS CAPRICHOS - POR QUE FUE
  LOS CAPRICHOS - POR QUE FUE SENSIBLE Nº 32Por que fui Sensible is an original etching realized by the great Spanish artist Francisco Goya and published in 1799. unframed ( height: 9 inch, width: 6 inch) framed ( height: 27 inch, width: 24 inch)
• SEVEN "PARCE QUE!" CAPUCCI PARIS
  SEVEN "PARCE QUE!" CAPUCCI PARIS PERFUMES Five in original box, by Robert Capucci.
• FACUNDO DE ZUVIRIA "GLOBE UNDER
  FACUNDO DE ZUVIRIA "GLOBE UNDER SHADOWS" PHOTOFacundo de Zuviria (Argentina, B. 1954) c-print on Kodak Panalure photographic paper framed under glass & entitled "Globe Under Shadows". Measures with frame 17-3/4" in height with width of 20-3/4", & has sight image height of 9-1/2" with width of 12-1/4". All measurements are approximate. Facundo de Zuviría, photographer, lives and works in Buenos Aires. Urban landscape is the main subject in his work. He published books like Estampas Porteñas (1996), Siesta Argentina (2003) and Paraná ra’angá (2013), among many others. He showed his work at Sao Paulo (1991) and Mercosur (2000) biennials, as at museums and galleries in different countries, and recently at Fondation Cartier (Paris, 2013), International Center of Photography (New York, 2014), Museo Amparo (Puebla, México, 2014), Lasar Segall Museum (Sao Paulo, 2014) and Museo Colección Fortabat (Buenos Aires, 2014). He obtained Konex Award twice (1992, 2012) and Leonardo Award (1996), from the National Museum of Fine Arts, at Buenos Aires. His work is represented at the Museum of Fine Arts, PROA, MALBA, Museum of Modern Art – in Buenos Aires-, Fondation Cartier, Fondation Hermes, National Library –in Paris- and other important private collections.
• CHANG (JUAN JOSÉ PABLO JESORUM). UN
  CHANG (JUAN JOSÉ PABLO JESORUM). UN ESPECTACULO DIFFERE...Argentina: Sisto & Lemme, ca. 1949. Large horizontal poster bears a central bust portrait of Chang, clad in an elaborate costume. The magician is cast in a blue light, offset by images of a juggler and acrobats on one side and a clairvoyant named Cleopatra on the other. 55 x 39". One border chip repaired; A-.
• 3 VINTAGE 1940S 1950S MOVIE POSTERS
  3 VINTAGE 1940S 1950S MOVIE POSTERS ARGENTINA3 vintage one sheet movie posters, 1940s and 1950s. Detras de la mascara (Behind the Mask), Proa al sol (Always All Boats), Hipocresia (Blackmail). Each 43" x 29". All in Spanish, from Argentina. All unframed. All with staining, discoloration, creases, tears. Plastic torn on all.
• Marisol H. Suarz 20th Century Una
  Marisol H. Suarz 20th Century Una Tarde en el Pueblo and Arranecer en la Campista, 1995: Two Estimate: $100  - $150
• CUZCO SCHOOL, SPANISH COLONIAL
  CUZCO SCHOOL, SPANISH COLONIAL VIRGIN AND CHILD Oil on canvas, laid on panel.
• Juan Carlos Castagnino (Argentine
  Juan Carlos Castagnino (Argentine 1908 - 1972) Figura de Hombre. Ink wash on Fabriano paper signed and dated '63 in the lower right corner; matted and framed under glass in original gilt wood frame. "M. Fabriano" watermark in the upper left corner. A gilt metalic label "Artistica Lombardi Viamonte 746 BsAs." (Buenos Aires Argentina) on the back. Image measures apprx. 18-1/2" x 12-1/2" and overall framed apprx. 26" x 19-1/8".
• ARGENTINCO: BUST OF A SMILING YOUTH
  ARGENTINCO: BUST OF A SMILING YOUTH Bronze facing forward with ribbon-bound hair fitted onto velvet-covered stand; 14 x 8 1/2 in.
• DORIS PATRICIO (1944-2019) ACOMA
  DORIS PATRICIO (1944-2019) ACOMA POTTERY JARDoris Concho Patricio (1944-2019)The late 20th century pottery olla is slip decorated in traditional Acoma designs, including stylized parrots. The work is signed underside of the base. The uneven interior has the appearance of a hand built pot.Measures 8 x 8.25 x 8.25 inches.Very good condition. There are no chips, cracks, repairs, scratches or areas of heavy wear.
• FRANCISCO DE GOYA Y LUCIENTES
  FRANCISCO DE GOYA Y LUCIENTES (SPANISH, 1746 - 1828) 6" x 8" plate size "Porque? (Why)", plate 32 from from "Los desastres de la guerra" (The Disasters of War), published 1863. Etching, lavis, and drypoint on paper, with full margins, 10" x 13 ½" sheet size, unframed.
• CUZCO SCHOOL, SPANISH COLONIAL
  CUZCO SCHOOL, SPANISH COLONIAL VIRGIN & CHILD Oil on canvas, laid on masonite.
• Graciela Hasper Argentinian, b.
  Graciela Hasper Argentinian, b. 1966 Untitled, 2000 Estimate:$2,500-$4,500
• Francisco Zuniga (Mexico,
  Francisco Zuniga (Mexico, 1912-1998) "Mujeres en la Peurta", offset chromolithograph, sight 24-1/2" x 18", litho-signed and dated lower left: "Zge 1974". Glazed, matted and presented in an ebonized frame.
• Francisco de Goya EL ESFORZADO
  Francisco de Goya EL ESFORZADO RENDON PICANDO UN TORO, DE CUYA SUERTE MURIO EN LA PLAZA DE MADRID Etching and aquatint Estimate:$200-$300
• FORGAS, Enrique Ermus, (Cuban,
  FORGAS, Enrique Ermus, (Cuban, 1971-): ''Carino de Babel'', Oil/Canvas unstretched, 24'' x 12'', signed, titled and dated 2007 verso.
• CARLOS ESTEVEZ MIXED MEDIA - "EL
  CARLOS ESTEVEZ MIXED MEDIA - "EL ARTE SIN SU HISTORIA"Carlos Estevez (Cuban, b. 1969). "El Arte Sin Su Historia" mixed media on paper, 2002. Signature, title, and date with location (Havana) handwritten below. A powerful piece by Cuban artist Carlos Estevez titled "El Arte Sin Su Historia" which translates as "Art Without Its History". Estevez presents a marionette figure, one of his recurring themes, raising both arms and the right leg in an elegant dance-like pose while its head lies on the floor suggesting that "Art Without Its History" amounts to a disfunctional puppet. All is delineated in a simple yet dramatic palette of red and white on a black ground, mounted behind plexiglass in an elegant custom frame. Size (sight view): 28.25" L x 19.75" W (71.8 cm x 50.2 cm) Size (frame): 29.125" L x 20.875" W (74 cm x 53 cm) About the Artist: "Carlos Estevez's work is animated by a deep interest in questions of human spirituality. His stated goal is to use his work to reveal the invisible realm to the spirit that lies hidden beneath the visible world, a process that he refers to as an alchemical, metaphysical transformation of mystery into knowledge. The imagery that populates his paintings, drawings, sculptures, and installations bears a dreamy, child-like quality, with recurring references to marionettes, automatons, fantastical architectures, cosmic geometries, angelic beings, and strange, chimerical creatures. A recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, the Cintas Foundation Fellowship in Visual Arts, and the Grand Prize in the First Salon of Contemporary Cuban Art in Havana, Carlos Estévez was born and raised in Cuba and moved to Miami in 2004, where he lives and works. He graduated from the University of Arts (ISA) in Havana and solo exhibitions of his work have been presented at the National Museum of Fine Arts, Havana; Tucson Museum of Art, Arizona; The Patricia and Phillip Frost Art Museum at Florida International University, Miami; Center of Contemporary Art, New Orleans; Lowe Art Museum at Miami University, Florida; and the Stoors Gallery at University of North Carolina Charlotte. Estévez has participated in group exhibitions presented at the 6th and 7th Havana Biennials; the 1st Biennial of Martinique; Arizona State University Art Museum in Tempe; Pérez Art Museum Miami, Florida; Maison de l'Amerique Latin, Paris, France; Casa de América, Palacio de Linares, Madrid, Spain; and several others. Estevez has been an artist-in-residence in Academia de San Carlos, UNAM, Mexico; Gasworks Studios, London, England; The UNESCO-ASCHBERG in The Nordic Artists' Center in Dale, Norway; Art-OMI Foundation, New York; The Massachusetts College of Art, Boston; Cite Internationale des Arts, Paris; Montclair University, New Jersey; Siena Art Institute, Italy; Sacatar Foundation, Isla Itaparica, Salvador de Bahia, Brazil; and McColl Center for Art + Innovation in Charlotte, NC; among other places. His work is included in numerous prestigious collections, such as those of the National Museum of Fine Arts, Havana; Museum of Fine Art, Boston; The Ludwig Forum, Aachen, Germany; The Bronx Museum, New York; Perez Art Museum Miami, Florida; Drammens Museum for Kunst of Kulturhistorie, Norway; Tucson Museum of Art, Arizona; Denver Art Museum, Colorado; Yale University Art Gallery, Connecticut; Arizona State University Art Museum, Arizona; Fort Lauderdale Art Museum, Florida; The Patricia and Phillip Frost Art Museum at FIU, Florida; The Mint Museum, North Carolina; BNY Mellon Art Collection, New York; and The Lowe Art Museum, Florida. Estevez first monograph Carlos Estevez: Entelechy. Works from 1992 to 2018 by Carol Damian, Ph.D. was published in 2019 by Tucson Museum of Art and Historic Block, Arizona; also, Images of Thought. Philosophical Interpretations of Carlos Estevez's Art by Jorge J. E. Gracia was published in 2009 by State University of New York Press, Albany; and Carlos Estévez: Bottles to the Sea, edited by Jorge J. E. Gracia was published in 2015 by State University of New York Press, Albany." (Artist's Website) Artist Statement: "Art for me is a learning process. It is my way of understanding life. My work is very connected to my own experience. What I think, what I feel, and all my dreams are contained in my artwork. My process is similar to the process of alchemists. They were looking for the formula to make gold, and what they found instead was knowledge. My goal is to find knowledge through art. I want to translate my life experiences into images and share them with other people. I think that art is a magic form of communication and the key is to look at yourself as deep as possible so that you can communicate with the deepest territories of others. The source of my work is the human existence. Of course, my work is influenced by what I read, which is mainly philosophy. However, I don't transfer any concept to my art intentionally. It does not work that way. I read a book and I use it as fuel for my brain. What I get from readings could be far from its original intentions. I do my own interpretation and this becomes the inspiration for my work. I never know exactly what, how, and when it is going to happen, but one day an image appears that is connected with something I have read. I work in different media –painting, sculpture, drawing, installation, and finding objects. I jump from one to the other and this sequence is interrupted constantly. The work that I do reflects my inner world, and it must be done with all the complexity that this process requires. That is why it need to be very detailed. Every single element is important: the background images, colors, textures, lines and the title. The fragments are the way in which we think. The thinking process or the perception process as a whole is not linear or compact. My obsession is to discover the meaning of life. Why are we here in this universe? This transcendental answer can perhaps never be answered, or perhaps it has many different answers. One thing is for sure, neither science nor history can reach the human knowledge that art achieves." (Artist's Website) Provenance: Private Los Angeles, California, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179259 Condition: Signature, title, and date with location (Havana) handwritten below. Artwork is mounted in a custom frame behind plexiglass. Artwork has not been examined outside the frame but appears to be in overall excellent condition. Frame is excellent as well and fit with suspension wire.
• Spanish Colonial engraved powder
  Spanish Colonial engraved powder horn, depicting mermaid playing guitar, coat of arms for Peru, Indian figures around lady in long skirt, inscribed Soy de mi dueño Juan…, silver mounts, cap engraved "E.C. de V.", probably Spanish Colonial, 19th century, 12 in. Generally good condition, lacking stopper, end cap with edge tear, scattered minor dents, adhesive residue on one area at edge of end cap, end cap early but possibly associated.
• A GROUP OF PUEBLOAN POTTERY
  A GROUP OF PUEBLOAN POTTERY CANTEENSA group of Puebloan pottery canteens, Three works: Vera Chino (b. 1943, Acoma Pueblo) An Acoma pottery canteen, late 20th century Marked to base: V. Chino / Acoma NM A polychrome globular canteen with curvilinear motif to front and bird motif verso, with rope twist lugs and added carved wood stopper 6" H x 5" Dia. Juana Leno (1917-2000, Acoma Pueblo) An Acoma pottery canteen, mid/late 20th century Marked: Leno / Acoma NM A polychrome globular canteen with floral and geometric motifs to center front and shoulders verso, with added leather cord and cork stopper 5" H x 5.75" Dia. Carol Pecos (b. 1934, Jemez Pueblo) A Jemez pottery canteen, late 20th/21st century Marked: Carol Pecos / Jemez, NM A polychrome globular canteen with a geometric motif with multiple feathers to front and stepped motif verso 5" H x 4.5" Dia. 3 pieces Provenance: Private Collection, Southern California
• 17TH CENTURY HAND WRITTEN SPANISH
  17TH CENTURY HAND WRITTEN SPANISH DOCUMENTdated March 17, 1609, hand written document in Spanish concerning mayorazgo ( majorat ) involving D. Geronimo Li¤ n de Z£¤iga (of Castillo de Garcimu¤oz) and Dona Ines Carrillo de Alarcon, bound in red velvet cloth with embroidered coat of arms with silver thread detailing, two paintings on vellum leaf of Saint Jerome and coat of arms with decorative border; with an associated intricate German paper cutting of the Virgin Mary Condition: wear to extremities, paper corrosion throughout due to ink, many pages with separations along ink line borders (many reinforced), some tears and small losses to paper, light staining throughout, paintings with heavy flaking and losses, binding popped but intact, some losses and fraying to edges
• HECHIZOS DE FU-MANCHú.Fu-Manchu
  HECHIZOS DE FU-MANCHú.Fu-Manchu (David Bamberg). Hechizos de Fu-Manchú. Sao Paulo: Farinas, ca. 1950. Lively color poster depicting the famous conjuror, an assistant, skeletons, and dancing girls. Minor over-coloring to folds; A-.
• CUZCO SCHOOL, SPANISH COLONIAL OF
  CUZCO SCHOOL, SPANISH COLONIAL OF SAINT ANTHONY OF PADUA Oil on panel.
• CHANG (JUAN JOSÉ PABLO JESORUM).
  CHANG (JUAN JOSÉ PABLO JESORUM). CHANG. LOS MISTERIOS D...Buenos Aires: Familia Italiana, ca. 1950. Pictorial playbill enumerating the program of Chang’s illusion show and bearing a bust portrait of the magician at the top, over a bullfighting scene. 5 ¾ x 22 ¼". Losses, chips and damage; C.
• JOSE MIGUEL RODRIGUEZ "WHY, MYRTLE,
  JOSE MIGUEL RODRIGUEZ "WHY, MYRTLE, ..." OIL, 1967 Jose Miguel Rodriguez (Spanish, 1902-1990) "Why, Myrtle, Where Did You Get That Hat!" oil on canvas painting depicting a crowd of faces, signed above and to verso, titled, and dated "'67". 10" H x 12" W.
• RUFFINO TAMAYO LITHOGRAPH, CABEZA
  RUFFINO TAMAYO LITHOGRAPH, CABEZA CON PAJAROSRufino Tamayo (Mexico, 1889-1991) early color lithograph entitled Cabeza con Pajaros, 1958, and depicting a surrealist head with the silhouette of a flying bird at lower left. Signed in pencil, lower right. Ref.: Pareda 50. With M. Toberoff Fine Frames, New York, NY label affixed to backing. Housed and matted under glass in a giltwood frame. Sheet: 13" H x 9 3/4" W. Frame: 18 " H x 14 1/2 " W. Condition: Print with mat burn and toning. Frame with loose corners and toning to mat.
• Jacobo Borges b.1931. Camuri,
  Jacobo Borges b.1931. Camuri, July 1, 1983 (Para Clara Mi Amiga Admirable); Untitled (two works). 1976, 1983, ink and pastel on paper, offset lithograph in colors on printed exhibition material. 11 h × 14 w in. result: $197. estimate: $800–1,000. Signed and inscribed to lower edge of one work ‘Para Clara Mi Amiga Admirable 1.7.83 Jacobo Borges’. Signed and dated to lower edge of additional work ‘Jacobo Borges 12.4.76’. Provenance: CDS Gallery, New York
• Cuzco School painting, Archangel
  Cuzco School painting, Archangel Michael with flames and shield that reads Quien como dios , unsigned, Cuzco-Peruvian School, 18th century, oil on canvas, 11-5/8 x 8 in.; reverse painted mirror frame. Retouch affecting entire surface including faces, crackle, abrasions, grime, possibly reduced from a larger canvas, laid on panel; frame with abrasions, cracks, flaking.
• Francisco Goya (Sp. 1746-1828)
  Francisco Goya (Sp. 1746-1828) ''Por Temor...''etching and burnished aquatint on wove paper Plate 2 from the 18-piece ''Los Proverbios'' series from the first edition of 300 published by Laurenciano Petenciano for the Real Academia in 1864 matted and framed under glass.With Certificate of Authenticity from Park West Gallery in Southfield Michigan.SS 10.5 x 14.5 in.; DOA 26.5 x 30 in.Not examined out of the frame.
• Sobrino, Francisco. Dictionario
  Sobrino, Francisco. Dictionario Nuevo de Las Lenguas Espagnola Y Francesa, 2 vols in one, Brussels 1705. Engraved frontispiece (small defect to title of vol 1 in outer blank margin) -Halma, Francois. Le Grand Dictionaire Francois et Flamend, Amsterdam 1708. Additional engraved title - Altieri, F. Dizionario Italiano ed Inglese 1726. 4to., cont. calf and 5 others, dictionaries (8)/Provenance: Spetchley Park
• ANDRé SALAZAR (COLUMBIAN, 20TH
  ANDRé SALAZAR (COLUMBIAN, 20TH CENTURY), MUERTE DEL CORONEL AURELIANO BUENDíA, MACONDO (DEATH OF COLONEL AURELIANO BUENDíA, MACONDO) Mixed-media ink drawing on paper, with elements of collage and possible printing, 1968, scene is from Gabriel García Márquez's Cien Años de Soledad (100 Years of Solitude), signed, dated, and titled at right, matted and framed.
• PERCINGULA ROMERO TOSA
  PERCINGULA ROMERO TOSA (1923-1996, JEMEZ PUEBLO)Percingula Romero Tosa (1923-1996, Jemez Pueblo), A Jemez polychrome pottery olla jar, mid/late 20th century Incised to underside: Percingula R. Tosa / Jemez The three-color painted water jar with allover geometric banded motif Dimensions: 7" H x 7" Dia. Provenance: Private Collection, Southern California
• Juan Carlos Castagnino (Argentine
  Juan Carlos Castagnino (Argentine 1908 - 1972) Figura de la Senora. Ink wash on Fabriano paper signed and dated '63 in the lower left side; matted and framed under glass in original gilt wood frame. "M. Fabriano" watermark in the upper right corner. A label "Artistica Lombardi Viamonte 746 BsAs." (Buenos Aires Argentina) on the back. Image measures apprx. 19-1/2" x 13-1/2" and overall framed apprx. 26" x 19-1/4".
• Francisco Goya 1746–1828. Con razón
  Francisco Goya 1746–1828. Con razón o sin ella; Ni por esas (two works from the Disasters of War series). c. 1815, lavis and drypoint etching. 9? h × 12 w in. result: $563. estimate: $600–800.
• Rufino Tamayo (Mexican-American,
  Rufino Tamayo (Mexican-American, 1899-1991) "Pareja con Maguey", woodcut on paper, pencil signed "R. Tamayo", 7" x 6" image, framed 17-3/4" x 16-1/2", good condition, not examined out of frame
• FINE POTOLO PONCHO, QUECHUA,
  FINE POTOLO PONCHO, QUECHUA, BOLIVIA.Potolo Poncho, Quechua Culture, Bolivia c.1930 Wool Potolo weavings are recognized by their inventive and marvelous mythical beings found on many ancient Peruvian burial cloths. Night animal such bats, and night dragons, possess a personality of inner life of their own. Size: 72'' x 55'' (183 x 140 cm).
• TWO FIGURAL PUEBLO PITCHERS20th
  TWO FIGURAL PUEBLO PITCHERS20th century, the smaller an Acoma polychrome pitcher with a braided handle and spout in the form of a cow head, inscribed on base "Acoma N. Mexico", 6 x 5 in.; the larger a bird form, handled pitcher signed on base "Sefarina Ortiz Cochiti Pue", a cream slip with black traditional decorations, 6-1/2 x 7 in. Condition: both with overall handling wear, grime, surface abrasions