Jesus dies for all our sins. Chartres Garnier-Allabre early 19th c Hand-coloured…

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Jesus dies for all our sins. Chartres Garnier-Allabre early 19th c Hand-coloured woodcut, 35,4 x 28,6 cm, laid paper (some foxing, few white spots). Framed. Christ on the Cross surrounded by the Apostles in medallions, published by Jacques-Pierre Garnier-Allabre (1782-1834). Prov. G. Zazzarini, Antwerp art dealer (label).

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Jesus dies for all our sins. Chartres Garnier-Allabre early

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Estim. 100 - 150 EUR

L'année Balzacienne. Editions Garnier (23 volumes) then PUF (41 volumes), 64 volumes in-8, 1960-2022, 29454p. Complete set of all volumes published over 63 years. Each volume contains, on Balzac and around Balzac, on his work and the context in which it was produced, research articles of diverse inspiration: general, biographical, genetic, historical, stylistic, bibliographical studies... It follows on from Études balzaciennes (1951-1960). The 33 volumes from 1960 to 1992 were bound in imitation of the Wagner and Spachmann bindings for the Balzac library. The remaining 31 volumes, from 1993 to 2022 (with 2 volumes for 1999) are as issued, bound in paperback.

Current bid 10 EUR

Bronze table medal after Dupré. Obverse: Saint Joseph kneeling on the right, kissing the feet of the infant Jesus held at arm's length by the Virgin Mary, both haloed. To the left, an altar on which a fire is burning, to the right, sheep, sbg. G. DUPRE. Reverse: O CRVX AVE / SPES VNICA. Saint John, dressed in a tattered animal skin, leaning against an altar and holding a crucifix above a bible; an agricultural landscape in the background. Diameter: 73 mm

Estim. 3 500 - 4 500 EUR

Neapolitan school; circa 1700. "The Resurrection of Lazarus". Oil on canvas. Re-coloured. It presents faults and repainting. Measurements: 100 x 156 cm; 110 x 165 cm (frame). There is in this image a dramatic effect generated by the illumination of tenebrist heritage and by the composition that the artist has used to narrate the theme of the resurrection of Lazarus. Based on a classical frieze-like structure, the artist cuts down the format, focusing only on the busts of the figures and eliminating any anecdotal elements or unnecessary depth that would distract the viewer from the subject. It is true that the figure of Christ stands out for the tonalities with which he has been portrayed, but the indisputable protagonist of this work is Lazarus and his exasperating body, marked by a musculature that reveals his bony structure, revealing how the flesh is consumed by death. The author takes the anatomy of this religious figure to the extreme and is heir to the form of Neapolitan Baroque painting. The theme of the resurrection of Lazarus can be identified iconographically in this work. In the Bible according to John 11: 1-44, Jesus receives a message that Lazarus is sick and his two sisters are looking for his help. Jesus tells his followers: "This sickness will not end in death. No, it is for the glory of God so that the Son of God may be glorified through it".Jesus then delays his departure for two days. The disciples are afraid to return to Judea, but Jesus says, "Our friend Lazarus is asleep, but I am going to wake him up." When the apostles don't understand, he clarifies: "Lazarus is dead, and for your sake, I'm glad I wasn't there so you can believe. When they arrive in Bethany, Lazarus has been dead and buried for four days. Before they enter the village, Martha, Lazarus' sister, meets Jesus and says, "If you had been here, my brother would not have died". Jesus assures Martha that her brother will rise again and says, "I am the resurrection and the life. He who believes in me will live, even if he dies; and he who lives and believes in me will never die. Do you believe this?" Martha's affirmation that she really believes: "Yes, Lord. I believe that you are the Messiah, the Son of God, who is to come into the world," is only the second time (after Nathanael) that someone declares Jesus to be the Son of God and the first time that someone compares him as 'Messiah' and 'Son of God' together. The only other time this happens in the whole Gospel is in the explanation the author of the Gospel gives for writing his Gospel at the end. On entering the village, Jesus meets Mary and the people who have come to comfort her. Seeing her pain and weeping, Jesus is deeply moved. After asking where he was buried, the shortest verse of the four Gospels is found and the scripture says: Jesus wept. After that, Jesus asks for the stone to be removed from the tomb, but Martha insists that there will be a smell. To which Jesus replies, "Didn't I tell you that if you believe, you will see the glory of God?". Then Jesus looked up and said, "Father, I thank you for listening to me. I knew that you always listen to me, but I said this for the sake of the people who are here, so that they may believe that you sent me." When he had said this, Jesus cried out in a loud voice, "Lazarus, come out!" Then Lazarus came out, with his hands and feet wrapped in strips of linen and a cloth around his face. Jesus said to them, "Take off your bandages and let him go. "Lazarus is mentioned again in chapter 12 of John's Gospel. Six days before the Passover in which Jesus is crucified, Jesus returns to Bethany and Lazarus attends a dinner at which Martha, his sister.

Estim. 1 800 - 2 500 EUR

Andalusian school; early 18th century. "Via Crucis". Oil on canvas adhered to tablex. Relined. It presents repainting and air bubbles. Measurements: 60 x 53 cm; 67 x 60 cm (frame). Pair of oil paintings on canvas of oval format in which two similar scenes are collected, belonging to the representation of the Way of the Cross. Exhausted by the blood lost in the scourging, weakened by the physical and moral suffering inflicted on him the night before, and without having slept, Jesus could barely take a few steps and soon fell under the weight of the cross. Then followed the blows and imprecations of the soldiers, the expectant laughter of the crowd. The Messiah, with all the strength of his will and with all his might, managed to get up and continue on his way. According to theological interpretations, Jesus invites us by his actions to carry our cross and follow him, he teaches us here that we too can fall, and that we must understand those who fall; that none of us must remain prostrate, we must all get up with humility and trust, seeking his help and forgiveness. The scenes in each of the works show a different moment on the road to Calvary. One of them depicts the moment when Jesus is about to be whipped by one of the soldiers, perhaps the moment before his fall on Calvary, a recurring theme in Christian iconography. The other image depicts a scene that would later give rise to the iconography of the Holy Face, a devotional painting. It is an episode that occurred during the Passion of Christ, when on the road to Calvary a woman took off her veil to wipe the face of the Messiah with it. The image of the face of Jesus Christ was imprinted on the linen handkerchief, and it was miraculously preserved through the centuries, becoming an object of worship. The woman would later be called Veronica, whose etymology derives from the Latin "verum" (true) and the Greek "eikon" (image).

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