Biblia germanica. Biblia, that is: The entire Holy Scripture of the Old and New …

Description

Biblia germanica.

Biblia, that is: The entire Holy Scripture of the Old and New Testament... ...by Doctor Martin Luther... Together with a preface by Johann Michael Dillherrn. Nbg., Endter 1733. Fol. With 2 gest. Titles, 4 whole. Engravings, 12 whole engraved portraits. (Electors and Luther), as well as numerous woodcuts in text. 48 pp., 1181 pp., 11 pp. Blind embossed. Pigskin printed boards of the time over wooden covers with 4 (instead of 8) corner mounts and 2 clasps. (V cover without corner mountings, wormholes, browned and rubbed, newly opened). Jahn p. 125 - 22nd Dilherr edition of 1733. The title engraving and the 'depiction' of Luther engraved by A. Nunzer. - Title-page with marginal faults and opened up, endpapers renewed (old inner mirror mounted), partly. marginal tears, browned in places a. fl.

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Biblia germanica.

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Paul YVAIN (1919-2007) Round and hollow polychrome earthenware PLAT, decorated in full with Saint Nicolas, his hood filled with toys. Manufacture KERALUC, annotated "Keraluc près Quimper" and monogrammed P.Y. D. 25.5 cm

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Bible 1709, "Biblia Hebraica", leather binding with embossing, binding partially out of linen, rubbed and bumped, 8 x 25 x 17 cm

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Spanish school, 17th century. "Saint Isidore". Oil on panel. Frame from the 18th century. Needs restoration and cleaning. It presents remains of old xylophages. Measurements: 79 x 66 cm; 92 x 79 cm (frame). Scene presided over by Saint Roque, whose right hand is extended in an attitude of blessing two faithful, who kneel before him. The saint can be recognised by the pilgrim's staff or staff that he holds in his left hand, and by the humble cloths that clothe him. The painter did not need to depict the most characteristic motifs of the figure (the wound and the dog), focusing instead on the relationship established between the four figures. They are set in a wooded landscape, bathed in a diffuse light that gives them a solid colouring with firm brushstrokes that build up the volumes. The saint, on whose face the light falls, is absorbed in thought. The other faces, on the other hand, express confidence in his healing power and philanthropy. Saint Roch was one of the most popular saints in Catholic Europe during the late Middle Ages and throughout the Modern Age, as he was considered a protector against the plague, one of the diseases that ravaged the continent. He is traditionally depicted dressed as a pilgrim, with a sore on one of his thighs alluding to the disease and accompanied by a dog carrying a piece of bread in its mouth. This is the animal that went every day with this food to the place where the saint had withdrawn to avoid spreading the plague, an illness that he himself had acquired due to his constant dedication to the sick. Stylistically, this painting belongs to the Spanish Baroque style, and the influence of the Flemish school can also be seen in the way the rocky landscape is depicted.

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