Null "Florence", Dominique Fernandez, Ferrante Ferranti, Ed. Philippe Rey, 2016

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"Florence", Dominique Fernandez, Ferrante Ferranti, Ed. Philippe Rey, 2016

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"Florence", Dominique Fernandez, Ferrante Ferranti, Ed. Philippe Rey, 2016

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Estim. 12 000 - 16 000 EUR

Rare Quran support Andalusian Nasrid or Post Nasrid 15th C converted into a Christian Lectern in the 16th century, Granada from the 15th to 16th centuries Sublime example of the profound Andalusian legacy in the Iberian Peninsula and its deep imprint on Christian art and architecture during the centuries that preceded the Arab rule of the Peninsula. Made of geometric inlay in bone and silver on one side dating from the 15th century and the Nasrid period and later Christian Mudejar ornamentation dating from the Post-Islamic period and dating from the 16th century on the cut sheet, both on the front and back with concentric geometric motifs of tinted bone. Measurements: 36 x 25 x 12 cm. Provenance: private collection, Spain. Reference bibliography: DÍEZ JORGE, Mª Elena (ed.), Galera Andreu, Pedro Antonio and Gómez-Moreno Calera, José Manuel (2006): The Alhambra and the Generalife. Historical-artistic guide. Granada, University of Granada-Junta de Andalucía "(2019) “Stories full of emotions: spaces and objects of minors in the houses of Moors and Christians.” In SERRANO-NIZA, Dolores (ed.) Dressing the house. Objects and emotions in the Andalusian and Moorish home. Madrid, Higher Council of Scientific Research, pp. 191-247"; SERRANO-NIZA, Dolores (ed.) (2019): Dressing the house. Objects and emotions in the Andalusian and Moorish home. Madrid, CISC.

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

Starting price 400 EUR

FRATELLI ALINARI (19th), Ponte Vecchio over the Arno, Florence, around 1890, albumen paper print Fratelli Alinari (19th century): View of the city from the banks of the Arno over the Ponti Vecchio bridge, with Santa Trinita in the background, Florence, c. 1890, albumen paper print Technique: albumen paper print, mounted on Cardboard Inscription: Lower middle signed in the printing plate: "(Ed. ne Alinari)". Lower middle inscribed in the printing plate: "Firenze - Veduta dei Lungarni coi Ponti Vecchio, S. Trinita, Carraia e di Ferro alle Cascine.". Lower middle numbered in the printing plate: "P.e I.n N.o 3118.". Date: c. 1890 Description: The image is extremely sharp and detailed. The cables stretching across the Arno at the front of the picture can be clearly recognised. Original photograph with high sharpness of detail. An early example of travel photography. Around the middle of the 19th century, more and more tourists from bourgeois circles travelled to Italy. At that time, photographs could only be taken at great expense in terms of time and with expensive, unwieldy equipment. This made many tourists all the more grateful for the work of the professional photographer's studios on site, so that they could bring back a souvenir from their holiday home or collect them as mementos. Famous photographers such as Carlo Naya, Giorgio Sommer and the Alinari brothers photographed the most famous sights in their home cities and travelled themselves to photograph their customers' favourite destinations and offer them as albumen prints. Ancient art treasures were also photographed and offered to travellers. The high-quality photographs of sculptures and frescoes continued to make an important contribution to documenting the art treasures and making them accessible to scholars from all over Europe, who previously had to rely on copies or engravings if they were unable to view the original themselves. "Fratelli Alinari" in Florence are the oldest surviving photographic company in the world: founded in 1852, a good two decades after the French inventor Joseph Nicéphore Niépce succeeded in capturing an image on a tin plate. The Alinari brothers were Romualdo (1830-1891), Leopoldo (1832-1865) and Guiseppe (1836-1892). Leopoldo began taking photographs during the daguerreotype period and worked for the lithographer Guiseppe Bardi, with whom he founded a joint photographic studio in 1850. In 1854, Leopoldo bought Bardi's shares and, together with his brothers, founded the Fratelli Alinari studio. It became one of the most important Italian studios of the 19th century and later one of the largest photographic archives in the world, which still exists today. Keywords: Italy view, documentary photography, travel photography, river, Arno, river bank, bridge, Ponte Vecchio, segmental arch bridge, old bridge, 19th century, Historicism, Cities, Italy, Size: Cardboard: 27,8 cm x 33,6 cm (10,9 x 13,2 in), Depiction: 18,8 cm x 24,6 cm (7,4 x 9,7 in)

Estim. 50 - 60 EUR

Set of various prints including: - After Louis MONZIES, "Le Martyr de Saint-Sébastien" after Théodule RIBOT. Etching and burin. Signed in the plate. Size of plate : 30 x 40 cm - Portrait of Jean Dominique CASSINI". Etching and burin. Size of plate: 24.5 x 16 cm - Simon Charles MIGER, "Portrait of Charles VAN LOO" after VAN LOO. Etching and burin. Size of plate: 35.5 x 26 cm - Two allegorical scenes. Etchings. Size of plate : 39.5 x 28.5 cm - Lajos SZANTO (1889-1965), View of the Ponte Vecchio in Florence. Etching. Signed in graphite lower right and numbered 182/250 lower left. Size of plate: 31.5 x 45 cm - After Frédéric HENRIET, Ruelle de village. Etching and drypoint pasted on board. Signed in the plate lower right. Size of plate: 27.5 x 22 cm (Freckles, damaged edges, as is).

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