Null FELIPE BRUGUERAS PALLACH Santa Eulalia (Barce (1915) / (2003) "Landscape wi…

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FELIPE BRUGUERAS PALLACH Santa Eulalia (Barce (1915) / (2003) "Landscape with characters" Watercolor on paper Signed in the lower right corner. Measurements: 33 x 48 cm

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FELIPE BRUGUERAS PALLACH Santa Eulalia (Barce (1915) / (2003) "Landscape with characters" Watercolor on paper Signed in the lower right corner. Measurements: 33 x 48 cm

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Estim. 30 - 50 EUR

Polychrome porcelain STATUETTE. Louis-Philippe period "Sainte Jeanne d'Arc". H : 23 cm. Saint Joan of Arc in cookie. H: 29 cm (slightly missing).

Estim. 900 - 1 200 EUR

Spanish school; XVII century. "San Felipe Neri". Oil on canvas. Relined. It presents faults in the pictorial surface. Measurements: 137 x 103 cm. Devotional painting of St. Philip Neri. It belongs to a period after the beatification and canonization of the Saint, which occurred in the first third of the seventeenth century, so that during the next century was a recurring theme in the Baroque devotional iconography. The dark background enhances the figure of the protagonist. The scene has been conceived from a completely theatrical point of view with the bust of the saint framed in a portico with Solomonic columns on each side. Above it, located in the tympanum, there is a large border with the figure of the Virgin inside, probably in allusion to the miracle of the apparition of Mary to St. Philip. Under this border is the Holy Spirit. St. Philip Neri (Florence, 1515- 1595) known as the "Second Apostle of Rome" after St. Peter, was an Italian Catholic priest noted for founding the Congregation of the Oratory. He was carefully educated and received his first teachings from the friars of St. Mark's, the famous Dominican monastery in Florence. He used to attribute most of his progress to the teachings of two of them, Zenobio de Medici and Servanzio Mini. At the age of 18, in 1533, Philip was sent to the home of his uncle Romolo, a wealthy merchant from San Germano (present-day Cassino), a Neapolitan town near the base of Monte Cassino, to help him in his business dealings and in the hope that he would inherit Romolo's fortune[1]. Philip gained Romolo's trust and affection, but during his stay he also experienced a religious conversion. A

Estim. 1 600 - 2 000 EUR

Spanish or Italian school; XVIII century. "San Antonio". Oil on canvas. Relined from the 19th century. It has a XIX century frame with faults. Measurements: 150 x 107 cm; 158 x 114 cm (frame). The present canvas represents St. Anthony of Padua as a young beardless man with wide monastic tonsure, dressed in a long Franciscan habit, kneeling in front of Jesus. The presence of the infant, which alludes to the vision he had in his cell, became the most popular attribute of this Franciscan saint from the sixteenth century, being especially popular in the Baroque art of the Counter-Reformation. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, in 1220 he entered the Order of Friars Minor, where he changed his first name, Fernando, to Antonio. After teaching theology in Bologna, he traveled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he participated in the general chapter of Assisi. In 1230 he was in charge of the transfer of the remains of St. Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonized only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century he became, at first, the national saint of the Portuguese, who placed under his patronage the churches they built abroad, and then a universal saint. He was invoked for the rescue of shipwrecked sailors and the liberation of prisoners. The Portuguese sailors invoked him to have good wind in the sails, fixing his image on the mast of the ship. Nowadays, he is invoked mainly to recover lost objects. However, there is no trace of this last patronage before the 17th century. It seems to be due to a play on words with his name: he was called Antonio de Pade or de Pave, an abbreviation of Padua (Padova). From there, it was attributed to him the gift of recovering the epaves, that is to say, the lost goods. He is represented as a beardless young man with a large monastic tonsure, dressed in a habit, and usually appears with the Child Jesus, holding him in his arms, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.

Estim. 180 - 200 EUR

MAURAN (G.). Avis aux gens de mer, sur leur santé. A necessary work for surgeon-navigans, & for all sailors in general, who find themselves embarked in Bâtimens where there are no surgeons. Marseille, Jean Mossy père & fils, 1786. In-12 garnet morocco, spine ribbed and decorated, gilt title, full and dotted fillets framing the covers with small gilt fleurons in spandrels, red tr. (period binding). A very fine copy. Posterior title-piece. Discrete restorations. (Polak 6545.)

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