Null NORTH. VALENCIENNES. "Valencena quondam cygnorum vallis urbs Han perelegans…

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NORTH. VALENCIENNES. "Valencena quondam cygnorum vallis urbs Han perelegans et valde magnifica." by Lodovico Guicciardini or Louis Guichardin. 1582. Detailed map of the town of VALENCIENNES, copper engraving with coat of arms, appearing in "La description de tous les Païs-Bas de Flandres, autrement appelée la Germanie inférieure" published in Antwerp by Christoffel Plantin in 1582 (1st edition in 1567). Format (bowl) 31 x 23 cm, large margins, Condition A.

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NORTH. VALENCIENNES. "Valencena quondam cygnorum vallis urbs Han perelegans et valde magnifica." by Lodovico Guicciardini or Louis Guichardin. 1582. Detailed map of the town of VALENCIENNES, copper engraving with coat of arms, appearing in "La description de tous les Païs-Bas de Flandres, autrement appelée la Germanie inférieure" published in Antwerp by Christoffel Plantin in 1582 (1st edition in 1567). Format (bowl) 31 x 23 cm, large margins, Condition A.

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Estim. 720 - 900 EUR

Rare round miniature mask of the Kifwebe society. Luba, D.R. Congo. H 12cm. With a narrow nose continuing over the forehead, protruding rectangular mouth and narrow eyes without slits with lowered lids; completely covered with curved concentric groove decoration. The Kifwebe is a society (Bwadi Ka bifwebe) in the south-east of the Democratic Republic of the Congo. It was probably founded in the northern Shaba province (Katanga), where Songye and Luba groups intermingle. Both groups claim that it was founded by them, which is why the Songye dancers speak Kiluba and the Luba dancers speak Kisongye during their performances. The society serves as a control mechanism for the ruling elite, giving them economic and political power. The kifwebe masks, whose linear patterns are said to allude to history, power and a range of other esoteric meanings, are incarnations of bizarre heterogeneous beings for the society and one of its most powerful instruments alongside witchcraft (buchi) and magic (masende), which is malevolent and can be received from the spirits of the dead. Carved miniatures of the Kifwebe society, such as the one offered here, were primarily used as talismans or fetishes that possessed supernatural powers to bridge the gap between the visible material world and the invisible spirit world. Minimally damaged, crack on the back, holes on the forehead for fastening, brownish, partially shiny patina. Provenance: ex Henning Schmeikal, Holle; Hans D. Rielau, Hösbach; ex Zemanek-Münster, auction 85, Würzburg 4.3.2017, lot 95.

Estim. 3 000 - 5 000 EUR

VON AACHEN HANS (1552 - 1615) The Bath of Diana. oil on canvas. Cm 119x152. The work is accompanied by expertise by Prof. Luciano Anelli, March 29, 2007, which we reproduce below.A very refined painting of northern European and Rudolfine matrix, it depicts a well-known mythological episode described in Ovid's Metamorphoses (from which the painting seems obvious to be derived, in relation to the culture of the time) or from other lesser-known legends of the Greek tradition.In Prague, at the court of Rudolph II of Habsburg, a particular and sophisticated artistic koinè had been created, which expressed a style all its own, quite easily-as it is in this painting-recognizable.The major exponents were Mattaus Gunderlach, Hans von Aachen, Joseph Heintz, Giuseppe Arcimboldo, and Bartolomeus Spranger.Numerous and thorough stylistic comparisons with known and safe works certify that the work examined here belongs to the brush of Hans von Aachen (1552-1615) in the full and mature phase of his activity, when he most intensely adhered to the Rudolfine milieu.See comparisons with the Annunciation in the National Gallery in Prague, with the head of the artist's daughter in the Embassy of Czechoslovakia, the Allegory of the Triumph of the Imperial Cause over Time in the State Gallery in Stuttgart, the Assembly of the Gods in the National Gallery in London, while literal quotations are from the Allegory of Peace in the Hermitage in Leningrad.In the work examined here, von Aachen certainly develops an iconographic theme of considerable complexity, but I have to say that he tries his best-in the view of a refined and lambasted painting-to make a scene supported by an extraordinary technical-stylistic language even more lambasted.The subject is therefore transformed into a pure pretext for creating a veritable triumph of female nudes (the King, who was also accused of witchcraft and strange rituals, took great pleasure in such somewhat lubricious themes, and on the other hand the Pope, Rome and the Counter-Reformation were far away) posing in all the contortions allowed to the human body, displaying a rare anatomical science.What's more, von Aachen insists on the tactility of the epidermis by exploiting vivid plays of light emerging from the shadows and penumbra, amid the glimmering of bronzes and silverware, and cryptic, repeated allusions (the young man in the background fleeing in fright could be Actaeon; the curtain and shiny objects hanging on the left are really pure pictorial pretext).

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