Faustino Bocchi, 1659 Brescia – 1741, zug.
FRÖHLICHE GESTALTEN AN EINEM FLUSS VO…
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Faustino Bocchi, 1659 Brescia – 1741, zug. FRÖHLICHE GESTALTEN AN EINEM FLUSS VOR STADTKULISSE Öl auf Leinwand. Doubliert. 57 x 72,5 cm Ungerahmt. Im Zentrum dieser figurenreichen Darstellung ein auf dem Fluss mit Liliputanern besetztes Boot, das aus einem Kürbis besteht. Darin sitzend wohl ein elegantes Brautpaar mit weiteren Figuren in höfischer Kleidung, teils mit grau-weissen Allongeperücken. Weitere kleine Boote begleiten das Kürbisboot. Eine Figur auf der Bedachung des Bootes hält einen großen roten Pilz oberhalb des Paares, quasi wie einen Baldachin. Dicht gedrängt am Ufer und auf einem Gebäude links bejubeln zahlreiche Figuren die Bootsfahrt, die an eine Fahrt des Dogen in Venedig an einem Festtag erinnert. Im Hintergrund schemenhaft eine lange Stadtmauer, mit dahinter liegenden Gebäuden unter abendlichem Himmel, in dem der Mond hinter einem Wolkenbank zu sehen ist. Humorige, detailreiche Darstellung in der typischen Manier des Künstlers, in dessen Werken der Kürbis auch als Turm oder sonstiges Gebäude auftaucht. Am unteren rechten Rand berieben, sowie an kleiner Stelle am unteren Teil des Bootes. Anmerkung: Das Werk des in Brescia tätigen und wohl unter Angelo Everardi (1647 - 1680) ausgebildeten Malers vereint Einflüsse der Bamboccianti wie auch der flämischen Malerei hinsichtlich der Sujets und der naturalistischen Wiedergabe. Bocchi hatte sich auf die bei seinen Zeitgenossen sehr beliebten Darstellungen von Zwergen und Liliputaner spezialisiert - eine Mode, die sich nicht nur in der Malerei wiederfindet, sondern auch in der Literatur, denkt man an die vier Bände von Gullivers Reisen von Jonathan Swift, die ab 1726 in London erschienen. (†) (1402421) (18) Faustino Bocchi, 1659 Brescia – 1741, attributed CHEERFUL FIGURES BY A RIVER IN FRONT OF A CITYSCAPE Oil on canvas. Relined. 57 x 72.5 cm. Unframed.

478 .A

Faustino Bocchi, 1659 Brescia – 1741, zug. FRÖHLICHE GESTALTEN AN EINEM FLUSS VOR STADTKULISSE Öl auf Leinwand. Doubliert. 57 x 72,5 cm Ungerahmt. Im Zentrum dieser figurenreichen Darstellung ein auf dem Fluss mit Liliputanern besetztes Boot, das aus einem Kürbis besteht. Darin sitzend wohl ein elegantes Brautpaar mit weiteren Figuren in höfischer Kleidung, teils mit grau-weissen Allongeperücken. Weitere kleine Boote begleiten das Kürbisboot. Eine Figur auf der Bedachung des Bootes hält einen großen roten Pilz oberhalb des Paares, quasi wie einen Baldachin. Dicht gedrängt am Ufer und auf einem Gebäude links bejubeln zahlreiche Figuren die Bootsfahrt, die an eine Fahrt des Dogen in Venedig an einem Festtag erinnert. Im Hintergrund schemenhaft eine lange Stadtmauer, mit dahinter liegenden Gebäuden unter abendlichem Himmel, in dem der Mond hinter einem Wolkenbank zu sehen ist. Humorige, detailreiche Darstellung in der typischen Manier des Künstlers, in dessen Werken der Kürbis auch als Turm oder sonstiges Gebäude auftaucht. Am unteren rechten Rand berieben, sowie an kleiner Stelle am unteren Teil des Bootes. Anmerkung: Das Werk des in Brescia tätigen und wohl unter Angelo Everardi (1647 - 1680) ausgebildeten Malers vereint Einflüsse der Bamboccianti wie auch der flämischen Malerei hinsichtlich der Sujets und der naturalistischen Wiedergabe. Bocchi hatte sich auf die bei seinen Zeitgenossen sehr beliebten Darstellungen von Zwergen und Liliputaner spezialisiert - eine Mode, die sich nicht nur in der Malerei wiederfindet, sondern auch in der Literatur, denkt man an die vier Bände von Gullivers Reisen von Jonathan Swift, die ab 1726 in London erschienen. (†) (1402421) (18) Faustino Bocchi, 1659 Brescia – 1741, attributed CHEERFUL FIGURES BY A RIVER IN FRONT OF A CITYSCAPE Oil on canvas. Relined. 57 x 72.5 cm. Unframed.

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BARBEY D'AUREVILLY (Jules). - GUÉRIN (Eugénie de). Reliquiæ. Caen, printed by A.Hardel, 1855. In-16, (8of which the last 4 are blank)-60 [numbered vàlxiv]-44-(4of which the last 3d are blank)-144pp., followed by 12ff. blanks of the same "Blauw" watermarked hollande paper, the last of which glued to the lower flyleaf; stiff parchment with thin overlaps, smooth spine, gilt fillets dividing the spine and framing the boards with gilt fleurons on the spine and spandrels on the boards, initials "J.B.D'A." gilded in a gilt medallion in the center of the upper board, gilt head on witnesses; binding tarnished with slightly faded boards and thin tear to spine (period binding). Very rare first edition, printed hors commerce in only 50 copies on hollande, including this one, and at least one copy on papier rose. It was printed in December 1855 at the expense of Guillaume-Stanislas Trébutien, orientalist, medievalist, Norman scholar, curator at the Caen library and close friend of Jules Barbey d'Aurevilly. A bibliophilic gem for the happy few. Barbey and Trébutien took extreme care in the creation of the volume, personally choosing its format, paper, typeface and typographic layout, in accordance with their own criteria of elegance. The work, which, according to the print run's justification, "doesn't sell", was sent to only a few friends and critics. Barbey explained his motivation in a letter to Trébutien in April 1854: "This publication is not commercial. It is an Entre nous and an Entre ceux qui nous ressemblent". Eugénie de Guérin's literary "Reliques", preceded by a long preface by Barbey (pp.vàlxiv). These relics included the admirably sensitive and stylistic letters she wrote to her beloved brother, the poet Maurice de Guérin, the poignant diary of pain and mysticism she kept after his premature death, and other letters she wrote to the Breton poet Hippolyte LaMorvonnais. Sending a copy of the present work to Charles Baudelaire in February 1856, Barbey commented: "C'est rare et précieux comme le diamant bleu de M.Hope [a famous gem that had just been exhibited at the Universal Exhibition]". This monument to women's literature also contains two poems by Maurice de Guérin. Eugénie de Guérin's personality inspired Barbey to create certain traits of Aimée de Spens in LeChevalier Destouches, and of the Carmelite nun Calixte Sombreval in Un Prêtre marié. Autograph signed letter from Trébutien to Jules Barbey d'Aurevilly: "Donné par moi G.S.Trébutien à Moi J.Barbey d'Aurevilly, dans mon nid de passer solitarius. Caen, 29septembre 1853, jour de S.Michel Archange". Trébutien wrote the two "moi" in red ink, to emphasize that their friendship made them one and the same heart. The Latin term passer solitarius ("solitary sparrow"), was one of the affectionate nicknames by which Barbey d'Aurevilly sometimes called him. Jules Barbey d'Aurevilly's copy (gilded initials on the front cover). Literary tomb of Eugénie and Maurice de Guérin. A fellow student and friend of Barbey d'Aurevilly, Maurice de Guérin (1810-1839) also devoted himself to writing, mainly poetry, but died of tuberculosis at a very young age. During his lifetime, he published only a few texts in magazines, and remained little known, despite George Sand's 1840 article on him in the Revue des deux mondes. His sister Eugénie (1805-1848) also had a literary bent, and proved to be an outstanding letter-writer and diarist. Barbey met her in 1838, and was struck by her ugliness, but also by her depth and mysticism. She nurtured an exalted love for her brother Maurice, and vowed to have his works printed, but died before she could fulfill her promise. Barbey, solicited by Eugénie de Guérin, didn't really support her in this mission, and ended up distancing himself, but later regretted his thoughtlessness when, converted to a less disordered and more Christian life, he learned that Eugénie had died praying for his salvation. Although Barbey and Trébutien had been planning an edition of Maurice de Guérin's works since 1844, it wasn't until his "conversion" in 1853 that the project really took shape. The two friends then gathered together Maurice de Guérin's papers (Barbey held part of them) and, failing that, copies, as well as texts by Eugénie de Guérin kept by the latter's sister, Marie. The idea then arose to publish the works of both brother and sister, Trébutien also wishing to publish the works of Eugénie de Guérin.

Italian school, ca. 1820. After JEAN-ANTOINE HOUDON (Versailles, 1741 - Paris, 1828). Bust of "Diana of Versailles". Carrara marble. Apocryphal signature. Measurements: 73 x 47 x 20 cm. The classicist sculptor that concerns us reproduces faithfully in this bust in Carrara marble the Roman model of Diana, a copy of the Greek original that represented the Greek goddess of hunting Artemis. The Roman copy, known as Diana the Huntress or Diana with Hind, is preserved in the Louvre Museum in Paris. The bust shown here focuses on the beautiful face and the folds of the peplum that drape around the turgid breasts, as well as the headdress with diadem and the waves of the hair gathered in a bun. The copy in the art gallery shows the goddess full-length, in movement, with her left hand resting on the antlers of a small deer and her right hand on her quiver. The authorship of the original statue was long attributed to Leocares, although Praxiteles has also been proposed as the author of the Greek bronze. The neoclassical sculptor Jean-Antoine Houdon made several versions of the goddess Diana. The bust in question is based on Houdon's marble Diana preserved in the National Gallery in London. It dates from 1778, and a waning quarter moon adorns her head. Along with the bow and arrow, the moon is an attribute of the Roman goddess (the Greek Artemis), the goddess of the hunt being a lunar divinity. Likewise, the moon is an emblem of chastity. The feminine features convey a powerful and haughty temperament, both in the original and in the excellent version shown here, also made in white marble. Diana's turgid breasts are exposed naked and her head is turned to her right side, gazing into the distance. Her kinky hair is gathered with the crescent-shaped comb, her emblem. A full-length Diana by Houdon (Diana the Huntress, 1776) is preserved in the Louvre Museum. Jean-Antoine Houdon was a French sculptor, a leading figure of the neoclassicism of his country. He stood out in his portraits by the search for individual character, which brought him closer to pre-Romanticism. A disciple of Jean-Baptiste Pigalle and Lemoyne, in 1764 he moved to Rome to complete his training. He devoted himself mainly to portraits, beginning the series with one of Diderot, in terracotta, followed by those of Mirabeau, D'Alembert, Molière, Voltaire, Rousseau and Franklin. The latter suggested to him the idea of traveling to the United States to portray Washington. Houdon arrived on the American continent in 1785 and, in addition to several busts of the president, he created the statue currently on display in the Capitol. During the French Revolution, he painted the faces of Necker, Lafayette and Napoleon.