Null (PALLOTTA -RAGNI - CELLA) PLUMCAKE
PLUMCAKE (PALLOTTA -RAGNI - CELL)
Pavia …

Description

(PALLOTTA -RAGNI - CELLA) PLUMCAKE PLUMCAKE (PALLOTTA -RAGNI - CELL) Pavia (Pv) 1983 Vortex 1985 Pastel on paper 24,00x30,00 Signature, title and year at bottom. Certificate of provenance and authenticity by the Auction House.

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(PALLOTTA -RAGNI - CELLA) PLUMCAKE PLUMCAKE (PALLOTTA -RAGNI - CELL) Pavia (Pv) 1983 Vortex 1985 Pastel on paper 24,00x30,00 Signature, title and year at bottom. Certificate of provenance and authenticity by the Auction House.

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Estim. 5 000 - 5 500 EUR

JACOPO MARIESCHI (Venice, 1711-1794). "St. Francis of Paola" and "St. Anthony Abbot". Oil on canvas. Later stretcher frames and frames. Measurements: 38 x 29.5 cm; 50 x 41 cm (frame). Painter sometimes confused with the contemporary vedutista Michele Marieschi, Jacopo Marieschi specialized in history painting, although he also worked on religious themes. One of the canvases depicts Francisco de Paula, identified by the legend "Charitas", the saint's motto, which appears in the lower margin. The other image depicts St. Anthony of Padua or Lisbon (Lisbon, ca. 1191 to 1195 - Padua, 1231) was a Franciscan friar, preacher and theologian, revered for his miracles and as a saint and Doctor of the Church, who was first a member of the Order of Canons Regular of St. Augustine, until he became a Franciscan in 1220. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He is depicted as a beardless youth in broad monastic tonsure, dressed in habit, and usually appears with the Infant Jesus, holding him in his arms, alluding 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. Saint Francis of Paola (1416-1507) was an Italian hermit, founder of the Order of Minims. At a very young age he began his life as a hermit on the outskirts of his native town of Paula. Little by little he acquired fame for his prodigies, and around 1450 there was already a group of followers around his figure. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the Archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483 Francis of Paola went to France by order of the Pope and at the request of King Louis XI. There he developed some diplomatic work in favor of the Holy See, at the same time that he tried to obtain the approval of a Rule for his congregation, which he finally obtained in 1493.

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. 200 - 300 EUR

Spanish school; early 18th century. "Saint Anthony of Padua". Oil on canvas. Re-drawn. It presents faults on the pictorial surface. It has a 20th century frame. Measurements: 63 x 45 cm; 73 x 54,5 cm (frame). Saint Anthony of Padua or of Lisbon (Lisbon, ca. 1191 to 1195 - Padua, 1231) was a Franciscan friar, preacher and theologian, venerated for his miracles and as a saint and Doctor of the Church, who was first a member of the Order of regular canons of Saint Augustine, until he became a Franciscan in 1220. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He is depicted as a beardless young man in broad monastic tonsure, dressed in a habit, and is often shown with the Infant Jesus, holding him in his arms, alluding 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.

Starting price 200 EUR

J. MEYER (1655-1712), Beheading scene in a cell with spectators, Johannes Meyer jun. (1655 Zurich - 1712 ibid.): Beheading in a cell with spectators and prisoners waiting for the executioner's death blow, , Etching Technique: Etching on Paper, mounted on Paper Date: Description: In a prison cell, a group of people are gathered around a kneeling prisoner, waiting for the executioner's death blow. Keywords: Dungeon, punishment, death penalty, beheading, historical depiction, literature, 17th century, Baroque, Costumes, Switzerland, Size: Paper: 11,9 cm x 5,9 cm (4,7 x 2,3 in) Condition: Rather good condition. Minimally wavy in the corners due to old mounting. Occasional pale foxing visible. The sheet edges are narrowly trimmed.

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