Null (Gutmann,A.).
Revelation of Divine Mayestat, wherein is shown how the Lord …

Description

(Gutmann,A.). Revelation of Divine Mayestat, wherein is shown how the Lord God initially revealed himself to all his creatures in words and works,... 2 pp. in 1 vol. Hanau, Däsch 1619. 4°. 38 p., 530 p., 13 p., 514 p., 15 p. Central hardcover with gilt stamping. (worming, lower cape with loss). Wolfstieg 42096. Georgi II, 193. first edition. - Ebert 9137: "Ein sehr seltener und ehemals von den Alchymisten sehr gesucht Commentar...". Commentary on chapters 1-5 of Genesis with an alchemical-cabbalistic character, also contains much on mining. Aegidius Gutmann (1490-1584) was one of the co-founders of the Rosicrucian Order. - Some browning, light worming in places, st. and aut. Owner's inscription on title page.

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(Gutmann,A.). Revelation of Divine Mayestat, wherein is shown how the Lord God initially revealed himself to all his creatures in words and works,... 2 pp. in 1 vol. Hanau, Däsch 1619. 4°. 38 p., 530 p., 13 p., 514 p., 15 p. Central hardcover with gilt stamping. (worming, lower cape with loss). Wolfstieg 42096. Georgi II, 193. first edition. - Ebert 9137: "Ein sehr seltener und ehemals von den Alchymisten sehr gesucht Commentar...". Commentary on chapters 1-5 of Genesis with an alchemical-cabbalistic character, also contains much on mining. Aegidius Gutmann (1490-1584) was one of the co-founders of the Rosicrucian Order. - Some browning, light worming in places, st. and aut. Owner's inscription on title page.

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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".

Estim. 600 - 800 EUR

17th century Spanish school. "Christ". Carved and polychrome wood. It presents repainting. Measurements: 80 x 32,5 x 17 cm. The crucifixion of Christ is the central theme of the Christian iconography and especially of the catholic one. Christ was inflicted with the suffering that corresponded to 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".

Estim. 400 - 500 EUR

Pair of appliques with divine representations; Rome, II-III centuries AD. Bronze. Measurements: 5 x 1,5 x 1 cm; 5 x 4 x 3 cm. Set formed by an applique representing the bust of the god Eros, while the other statuette represents a female figure, thus deducing that it is surely an ex-voto dedicated to fertility. On the back, you can see protrusions to attach them to a larger structure, architectural or otherwise. These types of pieces were very common in the Roman Empire, but also in other cultures that, directly or indirectly, had contact with them.

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