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An Inca Aryballos jar, Peru, 29cm high.

Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"Saint Joseph with the Child in its workshop"Oil on canvas.71 x 63 cm.The painting we present is attributed to Diego Quispe Tito, a master of the 17th-century Cuzco School.  In addition to its devotional purpose, this painting of Saint Joseph with the Child Jesus serves as an example of a rolled format painting. This unusual canvas, rich in iconography and symbolism, is presented rolled like a parchment, a format typically created for ease of transport, whether for outdoor masses or services in villages near the main parish, or to display a religious motif that would unify catechesis, homilies, or talks given by missionaries.  From a technical perspective, this format required durable materials and painting techniques resistant to wear, as the paintings were repeatedly rolled and unrolled.  With a background characteristic of Quispe Tito, and later of the entire Cuzco School, we see a landscape filled with birds, vegetation, and flowers, including native elements such as Andean birds (macaws and parrots) and typical trees of the Andean region. The painting portrays backgrounds with mists and radiant clearings; gardens in intermediate planes with well-defined plants and vegetation, and a bridge.  There is an unreal architectural perspective to the right, a wall and a plinth are hinted at, on which the saint has his carpentry tools, as if he were a surgeon. There are also meticulously detailed elements. At the center, we contemplate the chaste Joseph holding the Child in his arms. To his left, as if representing an independent reality, we see Saint Lucy, as a donor, appearing timidly, with independent vanishing points and horizon lines, yet sharing the same pictorial surface without any clear division between them.We have three possible hypotheses: a) It is a religious painting, commissioned by a priest, featuring two primary devotions of the place where he ministers, one larger and more intense at the center, and another on the side; b) The commission was made by a man named José, who places his patron saint at the center, and near the end of the work, requests the artist to include Saint Lucy, who seems to stumble into the composition but integrates perfectly as she shares the same compositional plane; c) The painting was commissioned by a donor, placed to the left, named Lucía, or devoted to the saint, and she is depicted in an unreal plane next to the central saint she wishes to venerate.Whichever of these are true, this is a devotional painting, full of goodness and light, blessed from heaven by the Holy Spirit, which becomes a refreshing window of pure reality, a haven of peace, calm, and tenderness.  In the painting, we can observe the mastery in the use of vibrant colors, the richness of meticulous details, and the depth of color, all hallmarks of Quispe Tito’s style. The reds in the garments of Saint Joseph and Saint Lucy, and the whites of the Child Jesus, contrast with the background landscape, which features softer and more natural tones.  The textures of the clothing, the carpentry tools, and the natural elements of the landscape are rendered with precision, creating a harmonious composition that guides the viewer's gaze through the scene.  With the inclusion of carpentry tools, local landscapes, and native fauna, Quispe Tito not only narrates the sacred story but also documents life in his homeland. It is a work that encapsulates a cultural mix, speaking both of faith and identity, achieving not only its religious and spiritual function but also becoming a reflection of daily life in colonial Andes, creating a visual language that captivated both the Indigenous and Spanish populations.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, he is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters."Bibliographic reference:- Gisbert, Teresa. “Iconografía y mitos indígenas en el arte”. Editorial Gisbert, 1999.- Vargas Ugarte, Rubén. “Historia del Arte en el Perú”. Editorial Studium, 1969.- San Agustín. “Sermones sobre San José”, Biblioteca de Patrística, siglo IV.- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

λ A PERUVIAN POLYCHROME FEATHERWORK TABARD FRAGMENT WITH ANIMAL MOTIFS Chimú or Inca Peru, South America, circa 14th - 16th centuryThe rectangular fragment most probably once part of a larger Peruvian tribal tabard garment, made of polychrome bird feathers tied into knots and then knotted directly onto an off-white coarse cotton ground, the feathers prominently in the tones of orange red, light yellow, iridescent teal blue, and brown, the upper section featuring two rows of stylised animals with claws and big fangs, the lower section monochrome, mounted on a cream-coloured cotton canvas in a Perspex casing.The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Provenance: Gifted from the Peruvian Ambassador to the parents of the present vendor in 1968 and in a private UK-based collection since. Exhibited and Published: Juan de Lara, Mestizaje and Craftsmanship in the Viceroyalties of America, Series 'Sumando Historias' of the Museo de America of Madrid, 4 April 2024. The fascination for exotic birds' feathers and their incorporation into artworks, whether in the form of textile panels, totems, adornments, or headdresses, are certainly not only prerogatives of South American civilisations. That said, in the specific case of Peru, featherwork certainly reached an unparalleled high level of complexity and impressive quality during the Chimú (ca. 1000 – 1470) and Inca (1430–1534) periods, as attested by the intricate string system with which the feathers were attached to the tabards. This technique was so elaborate and time-consuming that it is occasionally referred to as 'feather mosaic' (Christine Giuntini in Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 94). Throughout the 16th century, Spanish and European conquistadors and explorers of the Americas wrote with admiration of the exotic objects they saw on their travels, among them not only clothing and textiles, but also weapons and objects often made of or embellished with rare and precious feathers of birds (Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 9). Considered symbols of high status, they soon became prized ethnographic possessions, and later entered many important international museum collections. In terms of comparables, our tabard panel presents compositional and manufacturing similarities to another fragmentary panel attributed to Chancay or Ichma Peru, dating 13th - 15th century, in the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Ethnologisches Museum (acc. No. VA 660300) (ibidem, p. 33, fig. 21) and another Chimú panel with birds and wave motif, 13th - 15th century, in the Museo Amano, Lima (inv. 7512) (ibidem, p. 118). As far as the decoration goes, birds or animals mixed with running scroll or wave motif were seen on many tabards of the 13th - early 16th-century period, as well as in a variety of other mediums ncluding architecture, ceramics, metalwork. The later dating pieces tend to showcase more abstract and stylised creatures, like the present lot, making species identification difficult. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Qty: 1

A Moorcroft 'Inca Sunflower' pattern vase of squat baluster form, designed by Rachel Bishop, 16 cm high, unboxed

Rare historical vinyl LP 'Oswald Self-Portrait in Red', released by INCA. This spoken-word album features an unedited radio broadcast of Lee Harvey Oswald discussing his political ideology, including a controversial interview defending his beliefs. The recording provides firsthand insight into Oswald's views, as captured in a public broadcast before the events of November 1963. The album includes analysis from figures such as Congressman Hale Boggs, Dr. Alton Ochsner, and Edward Scannell Butler. A significant piece of political and historical audio, this LP is a must-have for collectors of political memorabilia, rare interviews, and vintage spoken-word recordings.Artist: Lee Harvey OswaldIssued: 1964Dimensions: 12.5"L x 12.5"HCountry of Origin: United StatesCondition: Age related wear.

The news of the death of Sir Clements Markham has been received with unanimous and unfeigned regret. His eminent services to Geographical Science, more especially to Polar Exploration, will live for all time. From the President of the French Geographical Society. The spectacular and historic group of sixteen Decorations and Medals awarded to Sir Clements R. Markham, K.C.B., F.R.S., who served as Geographer to the Abyssinian Expedition of 1867-68, and became known as the ‘Father of Polar Exploration’ The Most Honourable Order of the Bath, K.C.B. (Military) Knight Commander’s set of insignia, comprising neck badge, silver-gilt, hallmarked London 1895, and breast star, silver and silver-gilt; Abyssinia 1867 (C. R. Markham Esqre. Geographer to the Force) fitted with silver ribbon buckle; Arctic Medal 1818-55, unnamed as issued, fitted with silver ribbon buckle; Jubilee 1897, silver; Brazil, Kingdom, Order of the Rose, breast badge, gold and enamels, fitted with silver ribbon buckle, crown suspension neatly re-affixed; Portugal, Kingdom, Order of Christ, 2nd class set of insignia, comprising neck badge, silver-gilt and enamels, and breast star, silver, silver-gilt and enamels, one point of star neatly repaired; Norway, Order of St Olaf, 2nd class set of insignia, comprising neck badge, 2nd type, gold and enamels, and breast star, 1st type, by I. Tostrup, Kristiania, silver, silver-gilt and enamels; Sweden, Order of the North Star, 2nd class set of insignia, comprising neck badge, gold and enamels, and breast star, silver. Together with the following Society awards: 1. Royal Geographical Society, Founder’s Gold Medal, W.IV.R. obverse, 55mm, 128.68g (Clements R. Markham. 1888) lacking obverse glass lunette 2. Society of Arts Manufacturers and Commerce, silver medal, 56mm (To Clements R. Markham, for his paper “on the Tinnevelly Pearl Fisheries” 1867) 3. Society of Arts Manufacturers and Commerce, silver medal, 56mm (To Clements R. Markham, Esq., C.B., for his paper on “the Agricultural Statistics of India” 1875) 4. Society of Arts Manufacturers and Commerce, silver medal, 56mm (Clements R. Markham, C.B., F.R.S, for his paper on “the cultivation of Caoutchoue-yielding trees in British India” read 5th April 1876) 5. London Annual International Exhibition of all Arts Industries and Inventions, bronze medal 51mm (C. R. Markham C.B., F.R.S. for Services) 6. Grant Medical College, bronze medal, 51mm unnamed 7. France, Societé Imperial d’Acclimatation, Fondée le 10 Fev 1854, silver medal by Alphée Dubois, 50mm (M. Markham, Quinquina dans l’Inde 1864) 8. Congress of Peru, Lima 1892, Gold Medal, 45mm, 97.79g, specially struck reverse inscription (Á Clemente R Markham Por Sus Trabajos Historicos) [For His Historic Works], a few enamel chips but generally very fine or better (20) £40,000-£50,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Sir Clements Robert Markham geographer and historical writer, was born at Stillingfleet, Yorkshire, on 20 July 1830. After two years at Westminster School, he entered the navy in 1844 and spent four years in H.M.S. Collingwood on the Pacific Station, mainly in South American ports, where he picked up a working knowledge of Spanish. Many things in the service were distasteful to him, but he remained in it for a further three years in order to join H.M.S. Assistance as a Midshipman under Captain Austin on his Franklin Search Expedition of 1850-51 (Arctic Medal). After a year of wandering (1852-53) among the Inca ruins of Peru, which made him a life-long friend of the Peruvian people, Markham joined the civil service, and in 1854 was transferred to the board of control of the East India Company. In 1860 he was charged with the collection of young cinchona trees and seeds in the forests of the Eastern Andes, and with the acclimatisation of the plants in India. The difficulties were great, but the result was a complete success, leading in time to the supply of quinine at a very low price. From 1867 to 1877 he had charge of the geographical work of the India Office. In 1868 he accompanied Sir Robert (afterwards Baron) Napier as Geographer on the Abyssinian Campaign. He was present at the capture of Magdala, and it was he who discovered the body of the Emperor Theodore (Abyssinian Medal). In 1871 he received the C.B., and in 1873 was elected F.R.S. Markham took an active role in promoting the revival of Arctic Exploration, and sailed in 1875 as far as Greenland with the expedition of Sir George Nares, on which occasion his cousin Sir Albert Hastings Markham was second-in-command. In 1877, he left the India Office and retired from official life, only to redouble his geographical and historical studies, travelling widely and writing incessantly. He had joined the Royal Geographical Society in 1854, and maintained a role as one of its honorary secretaries for 25 years (1863-1888). He became president of the society in 1893, and during his 12 years’ tenure he vigourously directed its policy of encouraging exploration and geographical education. He was frequently consulted by the government, on issues such as the difficult question of the boundary between British Guiana and Venezuela. He received the K.C.B. in 1896. For the next few years, Markham threw heart and soul into the promotion of Antarctic exploration, securing funds by urgent appeals to public and private sources. On the joint committee of the Royal Society and the Royal Geographical Society, which was responsible for the National Antarctic Expedition of 1901, it was Markham who selected Commander Robert Falcon Scott as leader, pressing his strong preference that the expedition should consist of naval men under the sole command of a naval officer, with a small civilian scientific staff. The expedition was highly successful, but Markham took little interest in later South Polar achievements (he was not a supporter of Shackleton) until Captain Scott planned the expedition in the Terra Nova in 1910, when his former ardour was rekindled. Captain Scott drew much of his inspiration and encouragement from Markham, and in one of his final farewell letters wrote, ‘Tell Sir Clements I thought much of him and never regretted him putting me in command of the Discovery.’ For many years, Sir Clements Markham’s reputation was established throughout the world as the leading British geographer and his achievements were recognised by his many awards, not least the gold Founder’s Medal of the Royal Geographical Society. Sir Clements Markham died in London on 30 January 1916. Amongst the many memorials is a bronze bust, presented by the government of Peru, which today stands guard at the portals of the Royal Geographical Society’s main entrance to Lowther Lodge in Kensington. Sold with a first edition of The Life of Sir Clements R. Markham K.C.B. F.R.S., by Admiral Sir Albert Markham K.C.B., London 1917.

Braun, Georg and Hogenberg, Franz, Mexico Regia et Celebris Hispaniae Novae Civitas [and] Cusco Regni Peru in Novo Orbe Caput, late 16th / early 17th century, two uncoloured engraved city plans on one sheet, text verso, framed and glazed, plate - 27 x 48cm; frame - 47.5 x 62.5cmNote: From Civitatis Orbis Terrarum by Braun & Hogenberg these are the only two cities from the New World depicted in the atlas. They show the Inca and Aztec capitals at the time of the Spanish conquest. The crack in the plate to the right of the title 'Mexico' appears in about 1579 and gets larger with each edition.

MANCHESTER INDIE/ ALT - LP/ 12" COLLECTION. A fine collection of around 27 LPs/ 12". Artists/ titles include The Chameleons inc Script Of The Bridge (STAT LP17, record Ex/ sleeve Ex), What Does Anything Mean Basically (STAT LP22, includes poster. Ex/ Ex), Tears. The Stone Roses inc S/T (ORE LP 502, 89-8 matrix. Ex/ Ex), One Love (ORET 17, inc print). The Verve inc All In My Mind, She's A Superstar. Blitz - Second Empire Justice, A Certain Ratio - Sextet, Buzzcocks - Singles Going Steady. Pete Shelley, Inca Babies (x5), North Side, James, Happy Mondays (x6). Condition is generally VG to Ex+.

A gents AVIA MATIC inca block gold dial wrist watch

A vintage wrist watch by SULTNA inca bloc with red seconds sweep

Tintin "Le Temple du Soleil" edition from 1949 (B3) with title page with two Inca symbolsTINTIN album "Le Temple du Soleil", editie van 1949 (B3) met titelpagina met twee Inca symbolen -

TWO BOXES AND LOOSE CERAMICS AND SUNDRY ITEMS, to include a 1981 'The Who' tour programme, a J.G Meakin 'Inca' design orange and brown coffee set, three resin figures, a family tree chart, etc. (s.d/a.f)

Attributed to Diego Quispe Tito (Cuzco, Perú, 1611 - 1681)"The Visitation"Oil on canvas. Accompanied by an imposing carved and gilded wooden frame from the period.56,5 x 41,5 cm. A superb composition of the narrative passage found in Luke 1:39-45, attributed to Tito Quispe, considered to be one of the most prominent members of the Cuzco school.The scene fills the entire canvas. In a misty background, a tree in a garden is faintly suggested along with the house of Zechariah and Elizabeth depicted with an unreal architectural perspective. With carefully crafted details in the foreground, our gaze focuses on the two couples from this biblical encounter: Zechariah and Elizabeth on the left, and Joseph and Mary on the right. The men play secondary roles, positioned humbly, somewhat distant, "a step back," in reverence for this meeting.The love between the two women—cousins—takes center place.  The two figures meeting here are based on the engraving The Visitation by Jean Leclerc (1587-1633): their joining of hands expresses welcome, as does the hand resting on Mary’s womb as she exclaims, "Blessed are you among women, and blessed is the fruit of your womb."The brushstrokes of the artist showcase his virtuosity through his depiction of intricate gold filigree and flowers scattered across the garments, as well as the trimming, lace, and edging that adorn them, symbolizing the importance of the characters in this scene. Serene, humble faces reflect affection and closeness, joy and respect. A blend of mysticism and tenderness brings this biblical event closer to a "simple family meeting," making it more relatable to the viewer so that they, too, "feel visited," invited as another member of this heavenly family.In a period frame, filled with overflowing leaves and flowers, highlighted by magnificent carving and gilding, rounding off this work of unsurpassed and delicate technical mastery and showcasing the artist's extraordinary skill in this painting. As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered to be one of the main initiators of the Cuzco school of painting. He apparently came from the indigenous village of San Sebastián, where a significant part of his work can be found. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's maturity and originality, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus with the Doctors of the Church and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda in Potosí.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme in depicting the Last Judgement, in the form of successive horizontal layers, common among medieval painters." Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

A Peruvian 18ct two colour rose and yellow gold bracelet - stamped 'A. Bogino 18CT', each panel link with a raised appliqué of an Inca warrior within a foliate border, 

A 1940s LIBAN water proof automatic inca block wrist watch with a red seconds sweep and fluorescent numerals hands serial No 5 248

A gents 1970s WALTHAM 25 jewels inca block automatic day date gold cased wrist watch on leather strap W/O

A Moorcroft Inca Sunflower vase by Rachel Bishop, 1994, 12cm

Royal Doulton Art Deco teaware decorated in the Inca pattern, approximately twenty one pieces

Angel Pazmiño (1926-)Round coffee table with leather top with Inca decor, design Angel Pazmiño, manufactured by Meubles de Estilo, Ecuador, ca. 1970, 46 cm high and top size 100 cm diameter

Tony Hart - cartoon of Inca with umbrella, signed and dated 26.10.01

Rachel Bishop for Moorcroft Pottery, an 'Inca' pattern vase, circa 1994, of compressed baluster form, tubeline decorated with sunflower heads and leaves, over brick red ground, painted and impressed marks, height 10cm, boxed.

Collection of forty three Heavy Rock / Hard Rock / Psych / Art Rock / Prog Rock / Pop LPs including Black Cat Bones, Barbed Wire Sandwich, Satya Sai Maitreya Kali Inca (Craig Smith) sealed in shrink, Hate Kills / Tarkus, Kansas-Masque, US Saucer, Marillion,  Alex Harvey Band, Zeno, Triangulus, The Fastest Bat, Tribute, Shegui, Heretics, Angry Anderson, Petra, Flasher Secret in the Cupboard, Prism, Point Blank etc. Condition appears VG+ to EX+ in the main

Original color engraving on paper depicting an Inca Idol in striking red, warm yellow and shades of black by Peruvian painter and printmaker Claudio Juarez Castillo. Includes the artist biography on verso from the Gary Arts Gallery in NYC. Signature, title and edition number in graphite on lower edges: Idole Inca, 74/100 Claudio Juarez. Housed in a metallic frame with an off-white mat. Sight size: 7.25"L x 11.50"H. Frame dimensions: 14.50"L x 18.75"H x 1.25"W. Artwork can be unframed and rolled for shipment. Artist: Claudio Juarez Castillo (Peruvian/American 1935-2001)Issued: c. 1970Dimensions: See DescriptionEdition Number: 74 of 100Country of Origin: Peru/United StatesCondition: Age related wear. Artwork needs to be straightened in frame.

Charlie Bears pair including: (1) Inca, CB625137, plush, swing labels, 18"/46cm; (2) Appy Daze gorgeous giggler open mouthed teddy bear, CB 135144, 2013, LE 600, designed by Isabelle Lee for the Collector's Club, plush, swing label certificate, 19"/48cm; Excellent Plus to Near Mint; (2).

A Moorcroft pottery Inca Sunflowers vase, signed to base, 10.75cm

A 19thC. Peruvian silver tastevin with mermaid handle, Inca folklore had a strong affinity with mermaids, 107mm bowl diameter, 105g

Ethnographica: a pair of carved mahogany Inca portrait profile reliefs, one signed 'A Daza', 29 x 22.5cm. (2)

A Moorcroft "Inca" circular pin dish, 1996, 12 cm

A boxed Moorcroft "Inca Sunflower" vase of compressed baluster form, signed by John Moorcroft, 1995, 10 cm

An Inca design 925 silver and gilt brooch, Dia. 4.5cm. Together with a Mille Fiori brooch and a vintage hand painted brooch.

A South American Inca inspired painted fabric panel with stylised figures, animals and birds, 53 x 92cm, framed.A contemporary South American shamanic oil, a male figure looking up to the skies, indistinctly signed and dated 07, 72 x 47cm, framed and glazed.WILLIAM ILERENA; contemporary acrylic, shamanic study, brightly decorated, signed and dated 05 lower right, 55 x 71cm, framed and glazed and WILLIAM ILERENA; contemporary oil on canvas, shamanic study brightly painted, signed and dated 07, 87.5 x 71.5cm, unframed.Provenance: This forms part of a collection of mainly Peruvian artefacts collected by a retired solicitor whilst living in Peru. Many of the items carry the Peruvian Ministry of Culture holograms giving permission for them to be sold and shipped to the UK.

A group of six pieces of Moorcroft pottery, comprising a Magnolia pattern pen tray, 20 by 9cm, a small Parasol Dance vase, 8cm high, a Freesia pattern pedestal bowl, 14 by 14 by 6.5cm high, an Inca pattern sunflower design pin dish, 12cm diameter, an ashtray, 11 by 11cm, together with a small 'Hibiscus' diamond shaped pin dish, 7 by 9cm. (6)

Fracktaschenuhr Schweiz, BWC 1960er Jahre Glattes, 14 kt GG Gehäuse. Silberfarbenes Zifferblatt mit aufgelegten Indices, Batonzeiger und kleine Sekunde bei der 6. 17-steiniges Ankerwerk mit Genfer Streifenschliff, Kompensationsunruh und Inca-Block Stoßsicherung. D. 45 cm G. 46 g. Dazu 8 kt GG Uhrenkette L. 62 cm G. 14 g

Large rug with Inca style geometric design, +/- 310 cm x 210 cm

Two bottles of 2007 De Martino Reserva cabernet sauvignon. Together with two 2002 Bodegas Lopez Mercier La Mancha Reserva, one 2000 Puente Del Inca Cachapol Valley cabernet sauvignon, one 2006 Tokerau Rapel Valley cabernet sauvignon and two 2005 Kleinbok shiraz. (8)

MEAKIN; a large quantity of tea and dinner ware, including 'Inca' coffee pots, cups, saucers, milk jugs, sugar bowls and platter, 'Aztec' coffee pots, cups, saucers, side plates, milk jugs and sugar bowl, 'Impact' coffee pot, cups and saucers, 'Topic' coffee pot, cups, saucers, side plates, milk jug, sugar bowl and large jug (af), 'Capri' coffee pot, tea cups, saucers, milk jug and sugar bowl, 'Minuet' teapot, cups, saucers, milk jug and 'Poppy' teacups and saucers.Condition Report: - There are too many items to report individually on condition, however many items have crazing and wear to the decoration. The handle on the large 'Topic' jug is broken. Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/

1956 South African presentation Felea 17 Jewel Watch, waterproof, Inca bloc, stainless steel, leather strap; to the back, SAFA present to E Burgin 1956; used condition sold as seen. (1)

Two Trays of collectable spirits and drink accessories: Inca Pisco- 90 proof, 1988 Chateux De Boisset wine, Moniack Sloe Liqueur- 75cl, empty bells decanters, Cobalt blue glass vase and various bottle openers

PUNK, WAVE, INDIE, ALT AND COOL POP 7" COLLECTION - a collection of approximately 118 Punk, Wave, Indie, Alt and Cool Pop 7"s. Collection to include: The Dandy Warhols - Smoke It c/w 11CC - Parlophone (094633888173), The Flamin' Groovies - You Tore Me Down c/w Him Or Me - Bomp (BOMP 101), The Clash - This Is England c/w Do It Now - CBS (A6122), Secret Affair, Depeche Mode, The Lime Spiders, The Petals, Inca Babies, The Addix, The Bluetones, Dean Klevatt, The Jam, Japan, Marc Almond, The Fuzztones, Siouxsie And The Banshees, Klaw, The Revolution Will Not Be Digital (V/A), Earl Brutus, The Futureheads, Yuka, Cecil, Merz, The Flying Lizards, Fun Boy Three, The House Of Love, Killing Joke and more. The collection is generally in VG to EX+ condition

Tonfigur eines Mannes mit dunkel gehaltener feingliedriger Bemalung, Inka, imperiale Phase, 14. - 15. Jhdt. Tonfigur eines Mannes mit angewinkelten, angelegten Armen, die Hände auf der Brust unterhalb des Halses zusammengeführt. Eindrucksvoll stilisierte Gesichtsphysiognomie: Augen mit farblich abgesetzten Pupillen, markante, breite Nase und wulstige, leicht geöffnete und breitgezogene Lippen. Kopfbedeckung mit Querkamm, dieser auf der Vorderseite mit zwei Reihen aus Dreiecken und gepunkteten Trapezen fein bemalt. Seitlich Ohrpflöcke in den Ohrläppchen. Der Oberkörper mit einem feingliedrig bestickten Textil bekleidet, dessen geometrische Ornamentik durch eine äußerst detailreiche und präzise vielfarbige Malerei dargestellt ist. Zwischen den Beinen unterhalb der Bekleidung des Oberkörpers das unbedeckte Genital. Ausgesprochen qualitätvolle Arbeit der klassischen Inka-Zeit in vorzüglicher Erhaltung. Höhe 19 cm.Provenienz: Aus hessischer Privatsammlung. Übernommen aus der Sammlungdes Vaters, der von 1921 – 1960 in Peru lebte und dort die Sammlungzusammengetragen hat. A clay figure of a man with delicate dark-coloured painting, Inca, imperial phase, 14th - 15th century A clay figure of a man with delicate dark-coloured painting, Inca, imperial phase, 14th - 15th century Tonfigur eines Mannes mit angewinkelten, angelegten Armen, die Hände auf der Brust unterhalb des Halses zusammengeführt. Eindrucksvoll stilisierte Gesichtsphysiognomie: Augen mit farblich abgesetzten Pupillen, markante, breite Nase und wulstige, leicht geöffnete und breitgezogene Lippen. Kopfbedeckung mit Querkamm, dieser auf der Vorderseite mit zwei Reihen aus Dreiecken und gepunkteten Trapezen fein bemalt. Seitlich Ohrpflöcke in den Ohrläppchen. Der Oberkörper mit einem feingliedrig bestickten Textil bekleidet, dessen geometrische Ornamentik durch eine äußerst detailreiche und präzise vielfarbige Malerei dargestellt ist. Zwischen den Beinen unterhalb der Bekleidung des Oberkörpers das unbedeckte Genital. Ausgesprochen qualitätvolle Arbeit der klassischen Inka-Zeit in vorzüglicher Erhaltung. Höhe 19 cm. Provenance: Aus hessischer Privatsammlung. Übernommen aus der Sammlung des Vaters, der von 1921 – 1960 in Peru lebte und dort die Sammlung zusammengetragen hat. Condition: I -

Krug, Peru, wohl Inka-Kultur, 15. Jhdt. Ton, bunt bemalt. Doppelkonischer Korpus mit bunt bemalten Ornamenten. Trichterförmiger Rand. Zwei Bestoßungen am Rand, Unterseite mit Abnutzungsspuren. Maße 14 x 13,5 x 11 cm.Provenienz: Aus hessischer Privatsammlung. Übernommen aus der Sammlungdes Vaters, der von 1921 – 1960 in Peru lebte und dort die Sammlungzusammengetragen hat. A painted Peruvian clay jar, probably Inca culture, 15th century A painted Peruvian clay jar, probably Inca culture, 15th century Ton, bunt bemalt. Doppelkonischer Korpus mit bunt bemalten Ornamenten. Trichterförmiger Rand. Zwei Bestoßungen am Rand, Unterseite mit Abnutzungsspuren. Maße 14 x 13,5 x 11 cm. Provenance: Aus hessischer Privatsammlung. Übernommen aus der Sammlung des Vaters, der von 1921 – 1960 in Peru lebte und dort die Sammlung zusammengetragen hat. Condition: II - III

Vintage reproduction Pan Am travel advertising map poster issued by American Heritage - Pan American The Routes of the Flying Clipper Ships - featuring a pictorial map by Kenneth W. Thompson (1907-1996) of Latin America with annotations and images of points of interest, cities, industry, animals and people including ancient Maya ruins and Inca ruins, the Iguassu Falls, Amazon rainforest and Andes mountain range, Buenos Aires and the Gulf of Mexico, people fishing, farming and playing music, cattle, fish and birds, a traditional sailing raft and ship at sea on the Pacific Ocean and Atlantic Ocean, a plane flying on a compass point heading South at the top and the text with the PAA logo on the side above a smaller image of an elegant couple walking towards the viewer in front of a historic building, a lady carrying fruit on her head, a palm tree and a hotel attendant carrying their luggage, text title text below. Pan American Airways was the unofficial flag carrier of the United States from 1927-1991. Good condition, creasing, staining, backed on linen. Good condition, creasing, staining, backed on linen. Country of issue: USA, designer: K.W. Thompson, size (cm): 62x47, year of printing: 1950s.

Lasso de la Vega (Garcilasso). The Royal Commentaries of Peru, in Two Parts. The First Part. Treating of the Original of their Incas or Kings... The Second Part. Describing the manner by which that new World was conquered by the Spaniards, translated by Paul Rycaut, 1st English edition, London: Miles Flesher, for Christopher Wilkinson at the Black-Boy against St. Dunstan's Church in Fleetstreet, 1688, engraved portrait frontispiece of Paul Rycaut by R. White after Lely, title printed in red and black, 10 engraved plates, including one folding, occasional minor marks (contents in generally in good, clean condition), bookplate of Christopher Tower, Esqr., Weald Halls to front pastedown, contemporary paneled fill calf, spine gilt with red morocco gilt title label, rubbed and marked with minor wear to head and foot of joints and outer corners, thick folioQTY: (1)NOTE:Sabin 98760; Wing G216; ESTC R11046; Palau 354799.First edition in English of this important account of the destruction of the Inca empire. Garcilasso de la Vega (1539-1616) was born in Peru, and known as 'El Inca'. Lasso de la Vega was the first native historian of the New World; the work provides an account of the Inca empire which extended from present-day Columbia to Argentina and south-central Chile.

Designer Fashion - a pair of Jimmy Choo women’s Inca boots or high top trainer shoes, Crosta suede/calf/technical mesh, black/red, size EU 36.5, soft cloth dust cover, boxed

Südamerika-Album, um 1890–1900Album 35 x 26 cm mit Rochenhaut bezogen, 25 herausnehmbare Tafeln, beidseitig mit 50 Albuminkontakten im Format 26,5 x 21,5 cm bezogen. Nur Motive aus Südamerika, etliche mit Texteinbelichtung im Bild, ohne Photographennennung. Motive von: Valle del Inca, Rio Aconcagua, El Hito, Szenen aus dem Hochgebirge der Anden, Cacheuta, Concepcion, Talcahuano, Strandszenen, das Schloß Castillo Lota, Valdivia sowie 18 ethnographische Aufnahmen von Einheimischen. Bildton gut erhalten. Sehr seltene Reisebilder. Start Price: EUR 240 Zustand: (3/3)South America Photograph Album, c. 1890–190035 x 26 cm, with rayskin covers, 25 removable plates with 50 albumen images of 10 ½ x 8 ½ in., motifs from South America, several with text embedded in the image, without mention of the photographer, image tone well-preserved, rare travel photographs. Motifs include Valle del Inca, Rio Aconcagua, El Hito, scenes from the high mountains of the Andes, Cacheuta, Concepcion, Talcahuano, beach scenes, the castle Castillo Lota, Valdivia and 18 photographs of inhabitants. Start Price: EUR 240 Condition: (3/3)

Charlie Bears plush trio: (1) Wanda owlet, CB175188, swing label, 8"/20cm; (2) Miss Daisy teddy bear, CB206000O, LE 103/3000, plush, with swing label certificate, tobacco odour, 13"/33cm; (3) Inca teddy bear, CB625137, plush, swing labels, tobacco odour, 18"/46cm; Good Plus to Near Mint; (3).

Viceregal School. Peru. 17th - 18th century.‘Lord of Earthquakes’.Oil on canvas. Relined.114 x 82 cm.As we read in the Colonial Museum of Bogota's record ‘El Señor de los temblores (Lord of Earthquakes) of Cuzco Cathedral, the statue, according to various legends, was donated by Charles V or Philip II to the city of Cuzco, viceroyalty of Peru, to support the processes of evangelisation of the Inca population. The sculpture, dating from the mid-16th century, replaced another Christ known as the Good Death around 1560. Initially, the sculpture kept the name of its predecessor until 1650, when it began to be known as the Lord of the Tremors. The change was due to the fact that in that year there was an earthquake of great intensity in the city of Cuzco. In order to calm it down, the citizens processed with the statue, which, according to the story, calmed the effects of the quake. After the miracle, the image of the Lord of the Earthquakes spread widely throughout Latin America.The image, thus inspired by the carving from Cuzco, has several peculiarities, the most visible of which is that it portrays a ‘black’ Christ, a characteristic made possible by the scarce and simple polychromy, especially in the skin tones. The choice of materials is based on the flora of the Andean region, as it is made from agave and other plant fibres typical of the area. Such compositional characteristics allow us to think that it is possible that the image is of indigenous origin, which highlights its value as a testimony to the cultural crossbreeding brought about by the historical colonial processes, while at the same time leading us to question the legend surrounding this carving. This image of Christ has had a strong process of local appropriation by the indigenous communities of Cuzco, so much so that it is known as Taitacha Temblores, Taitacha being a Quechua word for saints or divinities. This linguistic particularity would point to the relationship that exists between an indigenous community, community devotional practices and cultural appropriation.The Monastery of Santa Catalina in Arequipa, Peru, also has a Señor de los Temblores with a donor, very similar to this one.

Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

A Peruvian Inca Tumi Decorative Pendant, stamped "18K", suspended on a ropetwist chain stamped "750", 74cm long including pendant (23.4grams).

Retro Gaming - Boxed ZX Spectrum 48K console with 1 x boxed Ramprint with Ramwrite, 1 x boxed Quickshot II Turbo joystick & 23 x cased games / programs (Samantha Fox Strip Poker, Yabba Dabba Doo!, Dietron, Adventure B Inca Curse, Chequered Flag, Golf, Horizons, AticAtac, etc), with 34 recording cassettes, vg overall

Davies (Nigel), The Maya, The Azteks and The Inca, Folio Society and various childrens books (1 shelf).

A South American Inca inspired carved crystal zoomorphic ornament with twin yellow metal applied masks, length 24cm.Provenance: This forms part of a collection of mainly Peruvian artefacts collected by a retired solicitor whilst living in Peru. Many of the items carry the Peruvian Ministry of Culture holograms giving permission for them to be sold and shipped to the UK.

Indie / Post Punk – 3 LP Records, 6x12” & 1 Boxset: Six Disques Blue 6 LP Post Punk French Compilation Blue Vinyl, Inca Babies – Rumble & The Judge 12”, Poison Girls – Hex 12” 1979, The Telescopes – Trade Mark of Quality, Slaughter Joe & the Modern Folk Quintet – All Around My Hobby Horse’s Head, Red Lorry Yellow Lorry – Chance & Temptation 12”s, Perfect daze – Regular Jailbreak and Let Them Eat Bogshed 12”.  (10)

A white metal "Tork" style Mexican choker with ethnic "Aztek/Inca" style decoration, stamped 925, 78gms.Condition report:In good condition, no issues.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

Three Inca style bronze figures, 6cm high, together with a Chinese carved rosewood miniature head rest, a Chinese vase, an African carved soapstone head and other items

Donald Gray Midgely (British 1918-1995): 'Inca in Whitby Harbour', oil on canvas board signed, titled verso with artist's address label 44cm x 54cm Provenance: purchased directly from the artist by the vendor in 1984, original receipt verso

Serpentine stone sculpture, soapstone African tribal bust, Women's Torso sculpture, Unique green soapstone carved figure and black Obsidian Inca God Figurine

A gold plated Smiths Delux gents watch 17 Jewel Shockproof movement, Arabic numerals at 12, 2, 4, 6, 8,10 on champagne coloured dial - running in saleroom - 4cm across bezel - on leather strap - a gold plated Montime gents wristwatch, 17 Jewel Inca block movement, baton markers to champagne coloured dial - 3.1cm across bezel - running in the saleroom - on leather strap - and a gold plated Limit of Switzerland gents wristwatch with baton markers to silvered dial, on leather strap - 3cm across bezel - running in the saleroom, glass face has crack from 12-2

Durham classics boxed DC-17E 1941 Chevrolet Suburban INCA trail 2001 - ltd ed of 50.

Garcilaso de la Vega, gen. El Inca.: Histoire de la conquete de la Floride: ou relation de ce qui s'est passe dans la Decouverte de ce Pais par Ferdinand de Soto... 2 Bde. Den Haag, Neaulme 1735. Mit 9 gefalt. Kupfertafeln u. 1 gefalt. Kupferkarte. 13 Bl., 290 S.; S. (291)-582. Ldrbde. d. Zt. mit Rverg. (Best. u. berieb., wurmspurig, Rckn. läd.). - Sabin 98748. - Stellenweise schwach gebräunt u. fleckig. St.a.T. verso.