Null Sayn-Wittgenstein.
A Brief Concept of the Christian Life and Blessed Death …

Description

Sayn-Wittgenstein. A Brief Concept of the Christian Life and Blessed Death ... Mr. Georgen von Seyn, Count of Witgenstein... (Strasbourg, Jobin) 1588. Cl.4°. With woodcut title and woodcut coat of arms at end. 8 nn. Without binding. VD 16, K 2709 - Rare funeral sermon for Georg zu Sayn-Wittgenstein (1524-1588). - Numerous underl. Missing parts. (le. leaf text added in manuscript), somewhat waterstained. - ╔Including: Brandt,T.E.╗ Leich-Rede... Frawen Annen Reginen Vippachin, gebohrne Klaurin zu Wohra, gewesenen Fürsthchen Nassaw Dillenburgischen Hoffmeisterin ... O.O. (1682). Uncompl.

342

Sayn-Wittgenstein. A Brief Concept of the Christian Life and Blessed Death ... Mr. Georgen von Seyn, Count of Witgenstein... (Strasbourg, Jobin) 1588. Cl.4°. With woodcut title and woodcut coat of arms at end. 8 nn. Without binding. VD 16, K 2709 - Rare funeral sermon for Georg zu Sayn-Wittgenstein (1524-1588). - Numerous underl. Missing parts. (le. leaf text added in manuscript), somewhat waterstained. - ╔Including: Brandt,T.E.╗ Leich-Rede... Frawen Annen Reginen Vippachin, gebohrne Klaurin zu Wohra, gewesenen Fürsthchen Nassaw Dillenburgischen Hoffmeisterin ... O.O. (1682). Uncompl.

Auction is over for this lot. See the results

You may also like

Estim. 1 500 - 2 000 EUR

Novo-Hispanic school; XVII century. "Heads of St. John and St. Anastasius". Oil on canvas. Relined. It presents faults on the pictorial surface and in the frame caused by xylophages. Measurements: 30 x 41 cm; 39 x 50 cm (frame). During the baroque and in a more consolidated way in later epochs scenes where several saints starred images in a joint way were popularized with a didactic purpose, since they represented analogous concepts. In this case it is the representation of San Anastasio and San Juan Bautista, both decapitated. The legends next to them help to identify the protagonists of the scenes, thus enhancing the didactic interest of the artist who, through the pathos of the subject matter, tries to transmit to the faithful the exemplary life of the saints. As a soldier in the army of Cosroes II, Anastasius was struck by the fact that the cross of Christ (which the Sassanid king took as a trophy to Persia in 614) was venerated by Christians as an instrument of torture and death. He was also interested in the cross as an instrument that worked miracles. His curiosity led him to learn about the Christian religion and later to his conversion. He left the army and moved to Jerusalem where he was baptized, changing his name from Magundat to Anastasius and becoming a monk. Years later he went to preach the Christian doctrine in Palestine where he was imprisoned and tortured. Finally he was beheaded in 627. It presents faults on the pictorial surface and on the frame caused by xylophages.

Estim. 800 - 900 EUR

French school; c. 1800. "The Guardian Angel". Oil on canvas. It presents faults on the pictorial surface. Measurements: 63 x 87 cm; 81 x 105 cm (frame). Devotional scene in which it is possible to appreciate a small infant that is being appealed by an angel that points out with his hand the good way. In Christianity, the guardian angel or guardian would be the one that God has appointed to each person to protect him. Hence, he is usually represented as a guide for life understood as a path, as is the case here. The fact that the artist has represented the faithful with the figure of a child emphasizes even more this protective role that the guardian angel fulfills with respect to the defenseless Christian soul. It presents faults on the pictorial surface.

Estim. 400 - 500 EUR

Spanish school; 17th century. ‘Christ’. Carved and polychrome wood. It presents faults. Measurements: 40 x 11 x 9 cm. The crucifixion of Christ is the central theme of Christian and especially Catholic iconography. Christ was subjected to the suffering that befell slaves who were fugitives or in rebellion, a condemnation that was essentially Roman but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the ‘Agnus Dei’, the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the Passion, provoking commiseration, as Psalm 22 refers to when it prays: ‘My God, my God, why hast thou forsaken me? (...) a mob of wicked men is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic’.

Estim. 1 000 - 12 000 EUR

Spanish or Italian school; 17th century. Carved and polychrome wood. It has faults. Measurements: 94 x 40 x 20 cm. The crucifixion of Christ is the central theme of the Christian iconography and especially of the catholic one. Christ was inflicted the suffering that corresponded to the suffering of slaves who were fugitives or in rebellion, an essentially Roman condemnation but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as referred to in Psalm 22 when he says: "My God, my God, why hast thou forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic".

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]