Null JURA. SALINS-LES-BAINS. S. Munster. The 1st well-known iconographic represe…

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JURA. SALINS-LES-BAINS. S. Munster. The 1st well-known iconographic representation of the town of Salins is this cavalier plan contained in the work by Sébastien Munster, rector of the University of Basel, entitled "Salin, la célèbre ville en Bourgogne..." taken from Sébastien Munster's cosmographie universelle of 1598. (28 x 41 cm) Condition A. Text on verso

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JURA. SALINS-LES-BAINS. S. Munster. The 1st well-known iconographic representation of the town of Salins is this cavalier plan contained in the work by Sébastien Munster, rector of the University of Basel, entitled "Salin, la célèbre ville en Bourgogne..." taken from Sébastien Munster's cosmographie universelle of 1598. (28 x 41 cm) Condition A. Text on verso

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Estim. 3 500 - 4 000 EUR

FRANCISCO ANTONIO VALLEJO (1722-1785). "Dolorosa", 1783. Oil on copper. Signed and dated. Measurements: 56,5 x 46 cm. The Virgin of Sorrows or the Dolorosa was a theme very much to the taste of the popular devotion, which will enjoy a great diffusion especially in the works destined to chapels and private altars. The theme is usually represented as we see here, with the Virgin alone in the foreground, in a dark and undefined environment, with an undoubtedly dramatic character. Although it is a compositional formula that we will see very developed in the naturalistic baroque, here it still responds to a purely iconographic sense, and in fact derives from Flemish models, of great weight in the Spanish school even in the 16th century. On the other hand, the way of composing the image presents a large, monumental figure. The devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations that have as central theme the Virgin Mary in her Sorrowful aspect, being the first of them in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap.

Estim. 600 - 700 EUR

Spanish school; XVI century. "The nuptials of the Virgin". Oil on canvas. Relined. Measurements: 94 x 77 cm. The present work represents the theme of the wedding between Mary and Joseph following a traditional composition in the history of art since the Renaissance: a symmetrical structure with the priest in the center, but in the background, and on both sides Mary and Joseph. Mary and Joseph are led by the priest to hold hands. Because the image is inspired by tradition, the author has decided not to dispense with several iconographic elements that are recurrent in the representation of this scene, such as, for example, the dove representing the Holy Spirit and the flowering rod characteristic of the iconography of St. Joseph. Although the movement of certain cloths, the chromaticism, the hallmarks of light, etc. give a certain baroque air to the composition, it should be noted that there is a certain harmony that owes more to the Renaissance. The abundance of secondary characters can also be related to this influence, although it must be taken into account that the Italian school was also known for this interest in the anecdotal. Relined.

Estim. 700 - 800 EUR

Spanish school; XVII century and later. "Immaculate Conception". Carved and polychrome wood. Presents restoration in the face of the Virgin of the twentieth century. It has an adapted base. Measurements: 31 x 14 x 10 cm (sculpture); 25 x 18 x 16 cm (base). Sculpture carved in round bulk, full body, representing the Virgin Mary in her invocation as the Immaculate Conception. Although devoid, in this case, of the pedestal with crescent moon and dragon subdued that characterize its iconography, it is probable that in origin it was accompanied by it. The Virgin appears dressed in tunic and mantle, both folded with volumetric draperies that provide a contained aspect to the figure. It is an image anchored in baroque aesthetics. The face tends to idealization, the thin lips and almond-shaped eyes are softly inscribed in an oval of rounded features. The long hair falls over the shoulders. Given the importance given to religious images in the Hispanic world, during the 17th century ambitious pictorial series and extensive iconographic programs were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or support, these images fulfilled the objective of sacralizing daily life beyond the altars. It presents restoration in the face of the Virgin of the XX century.

Estim. 20 - 40 EUR

Paire de bol à décor de fruit, en faïence, SALINS LES BAINS, fin XIXes, 12x7, très bon état

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