Null Phenicia. Tyr. Geta. Tetradrachme. 12,16grs. Prieur 1537. Portrait sublime.…

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Phenicia. Tyr. Geta. Tetradrachme. 12,16grs. Prieur 1537. Portrait sublime. SPL/SUP

406 .03

Phenicia. Tyr. Geta. Tetradrachme. 12,16grs. Prieur 1537. Portrait sublime. SPL/SUP

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Estim. 4 000 - 4 500 EUR

Circle by JEAN RAOUX (Montpellier, 1677-Paris, 1734). "Vestals. Oil on canvas. Re-coloured. It presents restorations. Size: 114 x 146 cm; 130 x 161 cm (frame). Image of historicist theme that represents a group of vestals as a group of beautiful and elegant young women, dressed with a mantle full of folds to avoid the rigidity. The young women stand next to the altar on which an incipient fire can be seen, the warmth of which harmonises with the gilding of the bronze figure in the background. Faithful to history, the artist recreates the interior of a temple that is open to the outside, revealing its round floor plan. From the Renaissance onwards, it was common to depict vestals, priestesses dedicated to the worship of the goddess Vesta. Aesthetically the work is close to the painting of the artist Jean Raoux who, after the usual training course, became a member of the Academy in 1717 as a historical painter. His reputation had previously been established by the acclaimed decorations executed during his three years in Italy in the palace of Giustiniani Solini in Venice, and by easel paintings, the Four Ages of Man (National Gallery), commissioned by the Grand Prior of Vendôme. Raoux devoted himself to the latter type of subject, refusing to paint portraits except in character. The list of his works is a long series of sets of the Seasons, of the Hours, of the Elements, or of those scenes of fun and gallantry in whose representation he was vastly surpassed by his young rival Watteau. After his stay in England (1720) he spent much of his life at the Temple, where he decorated several rooms. He died in Paris in 1734. His best pupils were Chevalier and Montdidier. His works were much recorded by Poilly, Moyreau, Dupuis, etc.

Starting price 600 EUR

Album de la Chartreuse de Notre-Dame de Mougères - 1881 This folio album, published by "Jean Martel Ainé, Imprimeur de Monseigneur l'Evêque" and limited to 100 copies, includes a "Notice Historique" on the cult of Notre-Dame de Mougères and an explanatory text illustrated with 40 off-text photographs. Sites, views, portraits, animated scenes: "Plan de la Chartreuse", "Vue générale prise du Sud-Ouest entre Alignan et Roujan", "Vue générale prise du côté de l'Est", "Vue générale prise du côté Nord-Ouest", "Porte d'Entrée", "Logement et Plan du Pélérinage", "Façade de l'Église du Pélérinage dite l'Église du Peuple", "Vue générale de l'Eglise du peuple du côté du Nord", "Maître-Autel de l'Église du Peuple", "Statue de N-D de Pitié, reposant sur le maître-autel", "Vierge miraculeuse et très vénérée de N-D de Pitié", "Notre-Dame de Pitié en 1648 (d'après une gravure sur cuivre)", "Distribution de secours aux pauvres", "Façade de la première cour", "Statue de Saint-Bruno, fondateurs des chartreux", "Petit Cloître", "Eglise des Pères chartreux, prise du sanctuaire", "Church of the Carthusian Fathers, from the tribune", "Chapelle des Frères, dite chapelle de famille", "Frère Convers", "Cloître des Frères", "Quartier des Étrangers ou retraitants", "Bibliothèque", "Façade of the Quartier des Etrangers, taken from the south side", "Cellule du Vénérable Père Prieur", "Jardin du Priorat", "Grand Cloître", "Jardin du Grand Cloître", "Garden of a Religious", "Grove where the Fathers take their recreation", "Cemetery", "Fathers' refectory", "Kitchen", "Laundry", "Facade of the Brothers' cells, taken from the West side", "View of some Obediences taken from the vegetable garden", "Farmyard, shed and obediences", "Calvaire de Caux", "View of Caux, commune of the Chartreuse" ... 1881 Incomplete album of 39 albumen prints from glass negatives, mounted on album pages, lithographed frames and typed captions on mount. Envoi "Hommage respectueux offert à Monsieur Jules Maistre, Chartreuse de Notre Dame de Mougères, le 8 juillet 1883" written in 1883 by Prieur Victor Marie Robert on the title page. 10 x 13 cm (31.5 x 26 cm)

Zwölf Münzen der Antike

Estim. 4 000 - 6 000 EUR

French school 1566 Christ in a trompe-l'oeil medallion oak panel, one board, not parqueted Height : 40cm Width : 31cm Dated (?) 1566 and inscribed in a philaster. Old restorations The letter of Publius Lentulus is an apocryphal text that this so-called procurator in Judea is said to have sent to the Roman Senate in the time of Augustus, describing the physical features of Jesus of Nazareth. The prototype of the true circular portrait of Christ, following this description, was probably invented in Flanders and disseminated in France by Jean Clouet, who likened it to the king (Portrait de François Ier en Christ, circa 1515, Columbus Museum of Art; an unlocated version is known). The interest of our later version lies in the fact that the text is written in French rather than Latin, the pictorial material is a little more Venetian and, above all, the decoration of cartouches and cut-out leathers, derived from Rosso's creations in the gallery of the Château de Fontainebleau and disseminated through engravings. It could be compared to the "François Ier en déité cosmopolite" by Nicolas Belin (Nicoletto da Modena, c. 1490/1495 - 1569), held at the Bibliothèque Nationale in Paris (parchment on oak). This artist, who worked with Primaticcio at Fontainebleau, moved to England in the service of Henry VIII and his successors in 1537.

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