Null (Khevenhiller,F.C.V.).
Conterfet engraving (as much as one can get hold of …

Description

(Khevenhiller,F.C.v.). Conterfet engraving (as much as one can get hold of them) of those reigning great lords as reigned successfully from the birth of King Ferdinand the Other till his blessed death . (Part 2: .of those distinguished ministers and high officers, so . served). 2 vols. in 2 vols. Leipzig, Moritz Georg Weidmann, 1721-1722. 4°. With some vignettes and c. 360 (instead of c. 390) copper plates. Leatherbound d. (Somewhat damaged). Lipperheide Ck 4 (I, 555); ADB XV, 705. Extensive baroque portrait collection. - Text pages more heavily foxed in places, the plates occasionally incorrectly bound and, as always, incomplete.

299

(Khevenhiller,F.C.v.). Conterfet engraving (as much as one can get hold of them) of those reigning great lords as reigned successfully from the birth of King Ferdinand the Other till his blessed death . (Part 2: .of those distinguished ministers and high officers, so . served). 2 vols. in 2 vols. Leipzig, Moritz Georg Weidmann, 1721-1722. 4°. With some vignettes and c. 360 (instead of c. 390) copper plates. Leatherbound d. (Somewhat damaged). Lipperheide Ck 4 (I, 555); ADB XV, 705. Extensive baroque portrait collection. - Text pages more heavily foxed in places, the plates occasionally incorrectly bound and, as always, incomplete.

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Glattacker, Adolf 1878 Wehr - 1971 Tüllingen. Watercolor. Putto with married couple in traditional costume (the artist and his wife), below 'Young German spring with bouquet and little tree in his hand, Oh bring us happiness and blessing now everywhere in the German land'. 14 x 12.5 cm. (21 x 19.5 cm). Signed u. XII. 1933 dated lower right. R.

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Spanish school; mid-17th century. "Saint Onofre". Oil on canvas. The original canvas is preserved. It has slight repainting. Measurements: 130 x 85 cm; 150 x 104 cm (frame). A hermit is kneeling in a penitent attitude, with his hands crossed in a pious way. From these hands hangs a small rosary which goes slightly unnoticed due to the darkness of the background. This darkness does not allow us to see the landscape clearly, but rather to make out the narrow, rocky space that opens up to the outside on the right-hand side of the scene. The saint, who stands out for the warmth of his skin tone, is accompanied by a skull, an open book, alluding to the Bible, and, as the last iconographic element, a bird with a flame in its beak. This, together with his clothing and characteristic beard, suggests that the artist is depicting the figure of Saint Onofre (300 AD). He is a saint venerated by both the Catholic Church and Coptic Christians. Legend has it that, as an infant, he escaped unharmed from the flames, where he was thrown by his father, who had been tricked by the devil. Onofre renounced a life of luxury and privilege to enter the monastic life at an early age. He would later leave the convent behind to live as a hermit in the desert for 60 years. It is said that he walked around naked, covered only by his hair and long beard, and that he fed on water, leaves and berries. The story of San Onofre says that he received bread, wine and communion from the hands of angels. Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. The religious theme was therefore the subject matter.

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I. DUVIVIER (1758-1832), Schloss Trematon in Cornwall, Watercolor Ignace Duvivier (1758 Rians (Var) / Marseille - 1832 Paris): Schloss Trematon in Cornwall, 19th century, Watercolor Technique: Watercolor and Pen drawing on Paper, mounted on Paper Inscription: At the lower part inscribed by the artist's hand: "Vue du Chateau de Trematon dans le Comté de Cornouaille, ce chateau constitue en chef la baronie des Ducs de Cornouaille, il etait la résidence de Guillaume Comte de Montagne et de Cornouaille revue de celui fut nommé le Conquerant sous le regne d’edouard troix, le chevalier [?] son [?] en faveur du prince [?].". numbered: "94.", "41)" und "16". Date: 19th century Description: Duvivier's view shows us the ruins of Trematon Castle, where Francis Drake once temporarily stored the treasures captured during his circumnavigation of the earth for Elizabeth I to take them to the Tower later. In the foreground, some people are resting in the shade of some thin trees; on Forder Lake, fishermen are at work on their boats. Provenance: Sammlung Ritter von Pfeiffer, Wien; Boerner, Leipzig, 1914 Keywords: Castle, Ruin, Cornwall, England, Great Britain, Landscape, Watercolour, Drawing, 19th century, Romanticism, Landscape, United Kingdom, Size: Paper: 26,0 cm x 41,4 cm (10,2 x 16,3 in)

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The priest Padiamonnebgutauy's sign for his father Minnusensebeur. Ancient Egypt, Lower Epoch, 664 - 332 BC. Bronze. Provenance: - Private collection, Annie Trotter, London. - Private collection, Ingrid McAlpine (1939 - 2018), London and Epsom, acquired from the above on October 22, 1993. - Art Market, England, 2019. - Lady Meux (1847-1910). - Sotheby's 5 July 2022, lot 146. Good condition, excellent patina of the bronze, retains original handle. Presents a blow and lack on the right side of the stipule. Attached a study on the antiquity of the piece issued by the Egyptologist and architect Fernando Estrada Laza. Author of "Los Obreros de la Muerte" and "Entender y Amar el Arte Egipcio". Advisor to the architectural team Lamela, for the project of the future Grand Egyptian Museum in Cairo (GEM). Advisor to the architectural team of Arata Isozaki (Tokyo), for the organization and selection of pieces for the new National Museum of Egyptian Civilization (NMEC) and the Grand Egyptian Museum in Cairo (GEM). Measurements: 15 cm (height) and 25 cm (height with handle raised); 31 cm (height with pedestal). The tendered situla features fourteen vertical registers of writing, between two figures engraved at the ends of the text, all framed by a rectangle drawn by a thin incised line. A priest dressed in a tunic is the only character in this scene. Both the animal skin covering him and his shaved head indicate that he is a funeral priest of the wab, pure, and sem groups, prestigious grades of the clergy whose acolytes practice the posthumous funeral rites to the dead, mainly that of the "opening of the mouth". While with his right hand he pours water (libation), on a container vessel, by means of a glass that, his other hand makes a fumigation of incense with a wooden censer whose front tip is a small container, lined internally with bronze, where the combustion of the grains of incense takes place. The grains are stored in the intermediate cylindrical area and finally the rear part ends with the design of a falcon's head, probably of the god Horus. The four registers of writing on his head, are translated: "Made by his brother to live his name. The director, the son of the god." After the priest, his proper name: Padiamónnebgutauy. Name that can be translated as: "He who makes (an offering) to Amun, Lord of the Crowns of the Two Lands". Next, following the scheme of vertical registers is the text: "Make a libation of fresh water to this Osiris who presides over the West. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the priests of Amonet (Goddess wall of Amon, it is the version of this god at Karnak. Make a libation of fresh water to this Osiris. The priest of Amun in Ipet Setu (the harem of the South of Amun), the scribe of the temple, to fulfill the office of his half-month in this temple, he who is at the head of the congregation of priests of this liturgical office of the half-month in the confraternity of Ipet Setu, Desefmer, Son of the priest of Amon in the temple of Ipet Setu, the scribe bearer of the seal of Amon in the temple, the head of the priestly congregation for the office of his half month in the temple, the one who is in the knowledge (the secrets?) of the temple, the one who is at the head of the confraternity of the pure priests of Ammonet (Goddess wall of Amon, is the version of this god in Karnak. Later, it will be Mut the first wife of the god), director in the heart of the Ipet Setu, the one who is at the head of the congregation of the pure priests of Amon, the director of the confraternity of the pure priests. This one, the one who is important in the priestly congregation: Padiamonnebgutauy, son of Minnusensebeur, fair of voice. Born of the singer of Amon Ra, Dity. Your son appears, Horus appears. You bring freshness to your heart and you put the Two Lands (Egypt) under your plants (?) for you, to be called to the embalming room without any danger (or without any risk) for your heart, besides your name appears...". Desefmer, is the son of Padiamónnebgutauy, who in turn is the son of the late Minnusensebeur, now deceased. In the Lower Epoch, very long proper names abou

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