Null [PADUA] SCARDEONE, Bernardino (1478-1574). De antiquitate Urbis Patavii. Ba…

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[PADUA] SCARDEONE, Bernardino (1478-1574). De antiquitate Urbis Patavii. Basel: Episcopius, 1560. Lot containing two important works on Padua and its history. Folio, (335 x 225 mm). View of Padua to title-page verso, printer's device to title-page and colophon, engraved initials (small chips to lower corner of last few leaves, light browning). Contemporary binding with serious losses and some wear to the vellum. [IN LOT WITH:] ORSATO, Sertorio (1617-1678) Historia di Padova parte prima. Padua: Frambotto, 1678. Folio (325 x 230 mm) illustrated frontispiece, 1 folding map, 1 double-page engraved plate, 1 plate with Livy's monument in the text and several half-page illustrations in the text (some light dampstaining and sporadic browning) Contemporary interim binding (heavily worn, one board detached). (1)

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[PADUA] SCARDEONE, Bernardino (1478-1574). De antiquitate Urbis Patavii. Basel: Episcopius, 1560. Lot containing two important works on Padua and its history. Folio, (335 x 225 mm). View of Padua to title-page verso, printer's device to title-page and colophon, engraved initials (small chips to lower corner of last few leaves, light browning). Contemporary binding with serious losses and some wear to the vellum. [IN LOT WITH:] ORSATO, Sertorio (1617-1678) Historia di Padova parte prima. Padua: Frambotto, 1678. Folio (325 x 230 mm) illustrated frontispiece, 1 folding map, 1 double-page engraved plate, 1 plate with Livy's monument in the text and several half-page illustrations in the text (some light dampstaining and sporadic browning) Contemporary interim binding (heavily worn, one board detached). (1)

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Estim. 100 - 250 EUR

FOUQUET (Bernardin-François) and DU VIVIER DE LANSAC (Abbé Pierre-Hippolyte): Recueil des actes, titres et mémoires concernant les affaires du clergé de France, augmenté d'un grand nombre de pièces et d'observations sur la discipline présente de l'Église, et mis en nouvel ordre suivant la délibération de l'Assemblée générale du clergé du 29 août 1705. Contenant les cahiers présentés, et les remontrances et harangues faites aux rois et aux reines par le clergé de France, tant aux états généraux qu'aux assemblées générales et particulières du clergé ; ensemble plusieurs édits, déclarations et arrêts, donnés en conséquence des cahiers et remontrances du clergé. Paris, Pierre Simon, 1740. One volume. 25 by 38.5 cm. (2)-XVI-(2) pages and 1780 columns. Contemporary full calf, spine with 6 ornate nerves, headbands damaged, 1 jaw split over 10 cm, 2 corners dull. Very slight light spotting on the upper 3/4 of the leaves, a few rare light freckles. Despite these defects, a good copy. First edition. Lelong 6947. Complementary volume in the collection by Lemerre Père et Fils: Recueil des actes, titres et mémoires concernant les affaires du clergé de France, comprising 12 volumes. This volume is considered by some bibliographers to be the 13th volume in this collection. It is devoted to the remonstrances and harangues of the clergy from 1579 to 1738.

Estim. 7 500 - 8 000 EUR

Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

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. 50 - 80 EUR

Set of antique maps and prints on Nice including: - After Johannes BLAEU, "Nicaea ad Varum Cum novo Urbis Incremento". Etched map. Amsterdam, 18th century. Framed under glass. Sight plate size: 52 x 66 cm - Johannes BLAEU, "Nicaea Civitas". Etching. Amsterdam, 17th century. Framed under glass. Sight plate size: 51.5 x 63 cm - Tommaso SALMON, "La Citta di Nizza Capitale della contea di Nizza". Etching. 18th century. Framed under glass. Sight plate size: 18 x 38 cm - After Nicolas de FER, "Veüe de Nice". Etching. Framed under glass. Sight plate size: 10.5 x 15 cm - After Giuseppe Pietro BAGETTI, "Vue de la ville et du château de Nice - Premier Quartier-général de l'Armée Française - March 28, 1796". Etching. Plate size: 66 x 97 cm. The original drawing, executed in the early 19th century, is in the Château de Versailles. (Bends, foxing, as is). ATTACHED: "Hospitellum" (Sospel) Etching. Plate size: 56 x 68 cm (Bends, tears and foxing).

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