Null Tableaux sacrez de la vie doctrine, miracles, mort, résurrection, et ascens…

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Tableaux sacrez de la vie doctrine, miracles, mort, résurrection, et ascension glorieuse de Jesus-Christ pour porter les plus grands pêcheurs à la pénitence, & de la pénitence à une parfaite sainteté. Paris, Chez Jean-Baptiste Loyson, 1676; small folio, 132 pp. bound in contemporary half calf, spine with five raised bands, red morocco title-piece. Complete with the two parts and the 132 engraved plates which consist of 126 engraved plates, 2 frontispieces and 4 engraved text pages. Stamps of religious institutes. Some free engravings at the end of the volume.

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Tableaux sacrez de la vie doctrine, miracles, mort, résurrection, et ascension glorieuse de Jesus-Christ pour porter les plus grands pêcheurs à la pénitence, & de la pénitence à une parfaite sainteté. Paris, Chez Jean-Baptiste Loyson, 1676; small folio, 132 pp. bound in contemporary half calf, spine with five raised bands, red morocco title-piece. Complete with the two parts and the 132 engraved plates which consist of 126 engraved plates, 2 frontispieces and 4 engraved text pages. Stamps of religious institutes. Some free engravings at the end of the volume.

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Weenix, Jan (1640 Antwerp - 1719 ibid., Dutch hunting still life painter) (1640 Antwerp - 1719 ibid., Dutch hunting still life painter) Following, "Still Life with Hare and Feathered Game", oil on canvas, relined, 110 x 91 cm, old restoration. . The present painting follows the tradition of Baroque still life painting. For a long time, the right to hunt was reserved solely for the feudal lord. Hunting still lifes and the depiction of hunted prey symbolised this privilege and represented wealth and an aristocratic lifestyle for their buyers and patrons, who were of noble or upper-class origin. From the late 17th century onwards, depictions such as this large-format still life were a popular motif among Dutch merchants and tradesmen who had become wealthy.

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Spanish or Italian school; 17th century. "Saint Francis of Paula". Oil on canvas. Size: 29 x 23 cm; 37 x 31 cm (frame). Saint Francis of Paula (1416-1507) was an Italian hermit, founder of the Order of the Minims. At a very young age he began his life as a hermit on the outskirts of his native town of Paula. He gradually gained fame for his miracles, and by around 1450 there was already a group of followers around him. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483, Francis of Paola went to France by order of the Pope and at the request of King Louis XI. There he carried out some diplomatic work on behalf of the Holy See, while at the same time trying to obtain its approval for a Rule for his congregation, which he finally achieved in 1493. Until his death, Francis of Paola enjoyed the support and protection of the French monarchs, and a few years after his death, processes for his canonisation were initiated in Calabria, Tourse and Amiens, in which numerous witnesses to his life and miracles testified. He was finally beatified in 1513 and canonised in 1519. The iconography of this saint is abundant. The best known effigy, which has inspired many painters, is the one by Jean Bourdichon, a French painter who was a contemporary of Francis of Paola. In it, the saint is depicted in the habit, an old man with a grave face and a bushy grey beard, leaning on a simple staff.

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