Null Blue fear and greening hope, By sleepless nights, Of afflicted Christians b…

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Blue fear and greening hope, By sleepless nights, Of afflicted Christians between heaven and hell. To all stupid consciences and impudent sinners... Merseburg, Forberger 1695. 4°. 15 (instead of 16) pp., 1282 (recte 1298) pp., 2 pp. (Somewhat worn and rubbed, some tears to spine). VD17 3:302230C. - Riemer (1648-1714) was Christian Weise's successor as professor of rhetoric and poetry in Weißenfels. The "Postilla", the secondary title of the present work, was his most important work. - Without pre-title and portrait. Some browning and spotting in places, some faint waterstaining. - Provenance: Nobleman's library.

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Blue fear and greening hope, By sleepless nights, Of afflicted Christians between heaven and hell. To all stupid consciences and impudent sinners... Merseburg, Forberger 1695. 4°. 15 (instead of 16) pp., 1282 (recte 1298) pp., 2 pp. (Somewhat worn and rubbed, some tears to spine). VD17 3:302230C. - Riemer (1648-1714) was Christian Weise's successor as professor of rhetoric and poetry in Weißenfels. The "Postilla", the secondary title of the present work, was his most important work. - Without pre-title and portrait. Some browning and spotting in places, some faint waterstaining. - Provenance: Nobleman's library.

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Estim. 240 - 600 EUR

A unique collection of illustrated manuscripts by Hector GUIOT. Hector Guiot (1825 - 1903), painter, draughtsman and pastellist. A pupil of Ziegler, he exhibited at the Paris Salon from 1866 to 1886. Le nouveau Polichinelle, operetta in two acts. Lyrics, music and illustrations by Hector GUIOT. One volume. 23 by 30.5 cm. 27 leaves mounted on tabs. Contemporary red half-chagrin, 5-rib spine, decorated boards, title on 1st board, all edges gilt. Small traces of moisture on boards, pale freckles on leaves. One color cover, two ink drawings and two lamp-ends. And original music. With Les Amours de Mr. Le Soleil, a scorching Indian ink painting of the day star's passion for the night star, by a lunatic named Hector GUIOT. One volume. 22 by 30 cm. 12 leaves on strong paper, mounted on tabs. Author's boards, with an ink drawing on the 1st board. One ink drawing per leaf. Corners dulled, minor soiling to boards. Reading marks in margins, otherwise a good copy. With Histoire d'un bec de gaz by an oil painter named Hector Guiot. One volume. 23.5 by 31 cm. 22 leaves mounted on tabs. Full paper with color illustrated title on 1st board. Cover faded, a few leaves detached from tabs. Very good condition inside. An ink drawing on each leaf, and a color title page. Three charmingly humorous manuscripts, apparently never published...

Estim. 4 000 - 6 000 EUR

WORKSHOP OF BERTEL THORVALDSEN (1768-1844): A MARBLE RELIEF WITH CUPID RECEIVED BY ANACREON, 'WINTER' ONCE OWNED BY THE GUINNESS FAMILY AT ELVEDEN. Carved in marble, of rectangular form with arched top, the carved relief panel depicting Cupid, who stands frontally and nearly nude, warming his proper left hand over the brazier as his solicitous host is removing with both hands his rain-sodden tunic, Eros is identified by his standard attribute (a bow), while a strap running over the chest indicates a quiver, full of arrows, that is strung behind his back, on the right hand side stands an elegantly tall bronze Greco-Roman lamp with in front a squat brazier burning brightly, beside the elderly bearded and stooped ancient Greek poet Anacreon, who has been struck by one of Eros’s arrows, (the tiny fleches of which in this example have been lost from Cupid’s proper right hand), behind Anacreon is lodged a thyrsus, while the plump bolster on his bed is draped with the skin of a ‘big cat’, probably a panther, both being symbols of the god of wine, Bacchus. In the lower left corner stands a substantial wine jug with a trail of vines or ivy carved in relief around its shoulders (another symbol), tilted at 45 degrees against it is a lyre, accurately made from a large tortoise or turtleshell with ridged horns to hold a stretcher, later mounted iwithin a purpose made gilt slip and rosewood frame, 52cm x 38cm Provenance: The Guinness Sale at Elveden, lot 402, listed as 'from Farmleigh, The Nursery Corridor'. Museum Comparable: A rectangular example in the Thorvaldsen Museum, Inventory No. A827. Auction Comparable: See Sotheby’s, London, 'Treasures’, 4 July 2018, lot 26, by Thorvaldsen himself and the actual example shipped to Schönborn in 1840, and not the one in the Oldenburg Museum: Sold for £180,000. This atmospheric relief depicts the ancient subject of Anacreon, who wrote a poem about how on a cold, rainy night the poet took a rain-soaked youngster into his home, delicately removed his wet attire and warmed him by the fire. It turned out to be Cupid, but the god laughed at his host and pierced his heart with an arrow. The panel was originally designed as a series of four depicting the Four Seasons, the present example representing Winter. Anacreon’s Ode III, stanza 1, translated by Thomas Moore, 1869: “Twas noon of night, when round the pole The sullen Bear is seen to roll; And mortals, wearied with the day; Are slumbering all their cares away; An infant at that dreary hour, Came weeping to my silent bower, And waked me with a piteous prayer, To save him from the midnight air! ‘And who art thou’, I waking cry, ‘That bids my blissful visions fly?’ ‘O gentle sire,’ the infant said, ‘In pity take me to thy shed; Nor fear deceit: a lonely child I wander o’er the gloomy wild.’ Related Literature: M. Misserini, Intera Collezione Di Tutte Le Opere Inventate E Scolpite Dal Cav. Alberto Thorwaldsen..., Rome, 1831 (Schönborn relief); H. Le Grice, Walks Through the Studii of the Sculptors at Rome, Rome, 1841, vol. I, pp. 55, 67 (Schönborn relief); C. Keisch, Italia und Germania: Deutsche Klassizisten und Romantiker in Italien, exh. cat. Nationalgalerie, Berlin; Winckelmann-Museum, Stendal; Kunstsammlungen, Weimar, 1975, no. 80; J. Birkedal Hartman, Antike Motive bei Thorvaldsen, Studien zur Antikenrezeption des Klassizismus, Tübingen, 1979, p. 59, pl. 14.3; K. Bott, 'Die Italienreise des Franz Erwein von Schönborn und seine Begegnung mit Thorvaldsen', in Festschrift für Gerhard Bott zum 60. Geburtstag: 14. Oktober 1987, Darmstadt, 1987, pp. 139-158 (Schönborn relief, the Thorvaldsens Museum relief is illustrated); E. di Majo, B. Jornaes, & S. Susinno, Bertel Thorvaldsen, 1770—1844, scultore danese a Roma, Rome, 1989; K. Bott, Ein Kunstsammler zu Beginn des 19. Jahrhunderts. Franz Erwein von Schönborn (1770-1840), Weimar, 1993; Laila Skjøthaug, 'Catalogue', in S. Grandesso (ed.), Bertel Thorvaldsen (1770-1844), Milan, 2015, no. 329.5; see L. Skjøthaug, in Sotheby’s, London, ‘Treasures’, 4 July 2018, lot 26, p. 142 (for the most up-to-date summary of important new information on this composition).

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