Bericht Jo:
Joachim Rußdorfs gewester Chur Pfaltz: Rath. What he negotiated Anno…

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Bericht Jo: Joachim Rußdorfs gewester Chur Pfaltz: Rath. What he negotiated Anno 1621. to Vienna because of his Lord ... Together with a princely palatine two-bridge letter to Hans Christophe(n) von der Grün ... From word to word from the Heidelberg gehelinben Registratur und Cantzley außzifferten Originallen. O.O. and Dr., 1624. Cl.4°. 8 nn. Pl. Mod. Wrappers. Hohenemser 5266 - Contains the report of Rußdorf, diplomat in the service of Frederick V, on the course of his secret mission to the English legation in Vienna. The text, printed in three columns, contains, in addition to this report, the summary in marginalia as well as the translation of the Latin and Italian quotations. Quotations. Also interesting is the reprint of a letter from Count Palatine Johann von Zweibrücken to the chancellor in Heidelberg, Hans Christoph von der Grün: according to this, the Dutch help is too late, Bethlen Gabor is determined to devastate Styria and Carinthia with Turkish help and to become king of Bohemia if Frederick of the Palatinate is no longer able to do so.

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Estim. 30 000 - 35 000 EUR

CORNELIS JACOBSZ DELFF (1570-1643). "Still life of a pantry. Oil on canvas. Relined. Attached report issued by Dr. Fred G. Meijer. It has restorations. It has a 20th century frame. Signed in the upper right area. Measurements: 130 x 202 cm; 235 x 164 cm (frame). In this exuberant image, the artist, presents us with a great display of his technical quality which is evident in the game of capturing the numerous elements that make up the image, but at the same time in the ambiguity with which he conceives the scene. At first sight it appears to be a still life with figures, a very popular genre in Flanders. However, on observing the figure of the woman, it can be seen that she is not dressed like a simple shopkeeper, as her clothing and the pearl hanging from one of her ears make her a far cry from the popular idea. Behind her, a man is besieging her, leaning his face against her neck and offering her a glass of wine. This characteristic imbues the work with a gallant theme that is contextualised behind a prolific, rich and diverse still life. The still life with large figures of the Flemish school originated in the 16th century in the works of Pieter Aertsen (1508-1575) and Joachim Beuckelaer (1533-1574). Both painters produced large paintings that advanced the Baroque style through their naturalism and scenographic value, although they still show the variegation of elements typical of Mannerism. Pieter Aerstsen created a formula that consisted of placing the figure in the foreground, surrounded by large-scale foodstuffs, always depicted with particular attention to quality and detail in the Flemish tradition. Beuckelaer, a pupil of Aertsen, took this model created by his master and used it to depict religious scenes, which are always secondary to still lifes. In the 17th century the genre of the still life with figures became very important in the Flemish school, with compositions that were already more dynamic and theatrical, fully in keeping with the Baroque style, as we see here. A still-life painter, he was the son and pupil of Jacob Willemsz Delff: apart from the dates of his birth and death, no other biographical details are known. Stylistically, he belongs to that group of Dutch painters who began to paint still lifes inspired by all the Flemish market and kitchen scenes in which figures are still present. In the few works attributed to him, there is a predilection for painting the surfaces of copper and brass plates, the gleam of which is often reflected in the glass. Fish, birds (which demonstrates the soft consistency of the feathers) and fruit are frequently present, their thick background consisting of wooden planks and dark tones. The composition shows little vigour in the assemblage of objects, with a predilection for the combination of simple forms, with mostly two-dimensional effects.

Estim. 6 000 - 8 000 EUR

Large Renaissance Lime Wood Bas-Relief of The Presentation of Christ to the Temple. Rhineland, circa 1480-1500 A.D. The gilt polychrome carving showing Saint Simeon holding the infant Christ in his arms before his circumcision, Saint Simeon wearing a priestly mitre, holding the infant above an altar covered by an embroidered brocade; Virgin Mary to his left gazing at the infant tenderly, veiled and wearing a long robe with gilt decoration; to her left Saint Joseph dressed in a long robe and gilt cloak, holding a carpenter's axe in his left hand; praying Saint Anna to the right of Saint Simeon, wearing a simple dress and veil; to her right Saint Joachim, wearing a yellow cap and gilt cloak; the columns of the Temple of Jerusalem on the background; on a wooden stand. Cf. relief of the Circumcision of Christ in Smith College of Art Museum, accession no.SC 1955.68, for a similar scene in stone. 10.15 kg, 86.5 cm wide (34 in.). The relief shows the parents and relatives of infant Jesus following the Jewish tradition of circumcising young boys eight days after their birth. This iconography is symbolic as, according to the tradition, Saint Anne and Saint Joachim, parents of Mary, died before the birth of Christ. This panel originally would have adorned the interior panels of a large altarpiece, showing the cycle of life of Christ. Crait and Muller, 8 June 2021, no.2. Ex central London gallery. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12181-221704. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]

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