Null Magnificent stucco gold frame, with military corner decorations (various we…

Description

Magnificent stucco gold frame, with military corner decorations (various weapons, covered by the Iron Cross), upper left corner decoration restored, frame contents: painting by Arthur Uecker, "Blick auf Graudenz", oil on canvas, signed lower right, 63.5 x 88 cm, with three smaller canvas perforations, frame with engraved nameplate, clear frame dimensions: 62 x 86 cm, rebate dimensions of the frame: 65 x 89 cm, overall size: 87 x 111 cm. Provenance: Werner Collection, Neunkirchen. Limit 270,-

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Magnificent stucco gold frame, with military corner decorations (various weapons, covered by the Iron Cross), upper left corner decoration restored, frame contents: painting by Arthur Uecker, "Blick auf Graudenz", oil on canvas, signed lower right, 63.5 x 88 cm, with three smaller canvas perforations, frame with engraved nameplate, clear frame dimensions: 62 x 86 cm, rebate dimensions of the frame: 65 x 89 cm, overall size: 87 x 111 cm. Provenance: Werner Collection, Neunkirchen. Limit 270,-

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Estim. 130 - 250 EUR

Reunion of 5 historical works from the LES ARMEES FRANÇAISES D'OUTRE-MER collection. Collection published for the 1931 Paris International Colonial Exhibition, with a print run of 1,000 copies, 22 by 28 cm: 1. Le Service vétérinaire et le service de la remonte aux colonies. Paris, Imprimerie Nationale, 1931. One volume. (4)-XIII-(1)-106-(3) pages + 18 plates h.t. Paperback, printed cover. Spine unstained. First edition. The first part outlines the role (not limited to their art) of military veterinarians, for each group of colonies (monitoring the diet of colonists and natives, laboratory research work, etc.); the second deals with the aims pursued by the remonte service: "to improve breeding conditions by improving hygiene and animal feed; to improve native breeds through judicious cross-breeding and the creation of equestrian establishments; to encourage breeding by various means, purchases, bounty competitions, races, etc." 2. [ASTOUIN (Colonel Louis) and PÉRIER (Captain Roger): Le train des équipages aux colonies. Paris, Villain et Bar, 1931. One volume. (2)-XVII-(1)-158-(1) pages + 7 h.t. maps. (6 of which folded) + 1 portrait + 11 plates. Paperback, printed cover. Spine unstained. First edition. Work divided into four parts, devoted to North Africa, West Africa (especially Madagascar), the organization of convoys in China, Cochinchina and Tonkin, and the Levant (Cilicia, Lebanon, Jebel Druze). 3. [PAUL (Lieutenant-Colonel Georges-Eugène) and BASSET (Captain)]: Artillery in the colonies. Paris, Villain et Bar, 1931. One volume. XVI-403-(2) pp. + 20 plates + 9 maps. (of which 5 folded) Paperback, printed cover. Spine unstained. First edition. Written in collaboration with Lieutenant-Colonel Charbonneau, this work relates "the history of the use of metropolitan artillery overseas, [...] the role of naval or colonial artillery as a combat weapon [... and] as a service [for] military [and economic] equipment in the colonies." 4. [GAUCHER (Intendant Général) and RIVIÈRE (Intendant): Le service de l'intendance aux colonies. Paris, Villain et Bar, 1931. One volume. (8)-290-(1) pages. Paperback, printed cover. Spine unstained. First edition. "Part One is devoted to "Intendants and Colonial Commissioners in the past", i.e. up to the second half of the 19th century. Part Two studies the role of the Commissariat and the Intendance, both metropolitan and colonial, in modern colonial expansion. Paperback, printed cover. Spine unstained. 5. Les Grands soldats coloniaux. Paris, Henri Jonquières, 1931, One volume. (4)-442-(1) pages + 33 h.t. portraits + 3 h.t. folding maps + 1 f. foreword paginated [15]-16 between pp. 4 and 5. Contemporary navy blue half-basin with corners, spine with 4 nerves, upper cover preserved. Minor spotting, otherwise very good condition. Paperback, printed cover. Spine unstained. 39 biographies of pioneers, explorers and military figures, including Samuel Champlain, Montcalm, Dupleix, Marshal Clauzel, Marshal Bugeaud, Duc d'Aumale, Marchand, Marshal Lyautey, etc.

Estim. 5 500 - 6 000 EUR

JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master. Frame of the early twentieth century. Measurements: 82 x 56 cm; 95 x 69 cm (frame). Álvaro Pascual Chenel has a PhD in Art History from the University of Bologna, and in History from the University of Alcalá de Henares. His main line of research focuses on the image of power in Spanish art of the Modern Age. He has published numerous studies, such as the article on Juan Antonio Frías y Escalante. In this canvas we see the representation of St. Michael subduing the devil, standing on his body, holding up a sword, in a little undefined scenario, but that is guessed earthly by the clouds that are glimpsed and the orography of the lower area. The composition is dynamic and scenographic, and follows a very frequent model in the Baroque, with the saint with Roman soldier's attire, full body, occupying most of the pictorial surface. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The churches and chapels dedicated to him are innumerable around the year 1000, in connection with the belief that on that date the Apocalypse would arrive. His temples are often located on high places, since he is a celestial saint. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is a military saint, and therefore patron saint of knights and of all trades related to weapons, as well as to the scales, for his role as apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a general rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield, generally decorated with a cross, although here he bears the legend "QVDOS". When he fights the dragon, he fights on foot or in the air, which distinguishes him from St. George, who is almost always on horseback. However, the great difference between the two saints is St. Michael's wings. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested.

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