PRADA - 2000/10'S
COAT
SHEARLING, MINK
MASTIC
HOOK-AND-LOOP FASTENERS
T. 44 IT
S…

Description

PRADA - 2000/10'S COAT SHEARLING, MINK MASTIC HOOK-AND-LOOP FASTENERS T. 44 IT SOME LIGHT STAINS, SMALL PATINA

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PRADA - 2000/10'S COAT SHEARLING, MINK MASTIC HOOK-AND-LOOP FASTENERS T. 44 IT SOME LIGHT STAINS, SMALL PATINA

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Estim. 50 - 60 EUR

[BONAPARTE (Louis Napoléon)]. Cour des Pairs. Attack of August 6, 1840. Réquisitoires et répliques de M. Franck Carré, procureur général du Roi. Paris, Imprimerie Royale, 1840. In-4, 44 pp. Bradel, dark blue half-percaline, title page in red marble (late 19th c. binding). Requisitions and reply by the procureur général in the Cour des Pairs trial of the failed coup attempt at Boulogne-sur-mer. "On the night of August 5 to 6, 1840, Louis-Napoléon Bonaparte landed with some fifty conspirators near Boulogne-sur-Mer. Taking the town, the sub-prefecture and the town hall would require too many troops. The conspirators decided to go to the barracks of the 40th infantry regiment to ask for reinforcements. The attempt failed. Forced to flee, Louis-Napoléon and a few accomplices boarded a canoe to reach their boat. Gunfire broke out, the Prince was wounded, the canoe capsized and the fugitives were rescued. [...] He is sentenced to life imprisonment in the fortress of Ham [...]. He escaped after six years' imprisonment. He returned to London until the revolution of 1848, when he became the first President of the French Republic, on December 10, 1848. The Boulogne-sur-Mer conspiracy followed a first attempt in Strasbourg on October 30, 1836. Louis-Napoléon hoped to raise the garrison and march on Paris to overthrow the July monarchy. It was an immediate failure, and the prince and his accomplices were arrested. At the request of Louis-Napoléon's mother, Queen Hortense, King Louis-Philippe convinced the government to let the prince leave for the United States, where he landed on March 30, 1837. Meanwhile, his accomplices were tried before the Strasbourg Assize Court, and acquitted by the jury on January 18, 1837, to public acclaim. Although this attempt was a failure, it did enable him to make a name for himself in France, and to be associated with his uncle in Bonapartist imagery." Senate.

Estim. 3 500 - 4 500 EUR

Neapolitan school; circa 1700. "The Resurrection of Lazarus". Oil on canvas. Re-coloured. It presents faults and repainting. Measurements: 100 x 156 cm; 110 x 165 cm (frame). There is in this image a dramatic effect generated by the illumination of tenebrist heritage and by the composition that the artist has used to narrate the theme of the resurrection of Lazarus. Based on a classical frieze-like structure, the artist cuts down the format, focusing only on the busts of the figures and eliminating any anecdotal elements or unnecessary depth that would distract the viewer from the subject. It is true that the figure of Christ stands out for the tonalities with which he has been portrayed, but the indisputable protagonist of this work is Lazarus and his exasperating body, marked by a musculature that reveals his bony structure, revealing how the flesh is consumed by death. The author takes the anatomy of this religious figure to the extreme and is heir to the form of Neapolitan Baroque painting. The theme of the resurrection of Lazarus can be identified iconographically in this work. In the Bible according to John 11: 1-44, Jesus receives a message that Lazarus is sick and his two sisters are looking for his help. Jesus tells his followers: "This sickness will not end in death. No, it is for the glory of God so that the Son of God may be glorified through it".Jesus then delays his departure for two days. The disciples are afraid to return to Judea, but Jesus says, "Our friend Lazarus is asleep, but I am going to wake him up." When the apostles don't understand, he clarifies: "Lazarus is dead, and for your sake, I'm glad I wasn't there so you can believe. When they arrive in Bethany, Lazarus has been dead and buried for four days. Before they enter the village, Martha, Lazarus' sister, meets Jesus and says, "If you had been here, my brother would not have died". Jesus assures Martha that her brother will rise again and says, "I am the resurrection and the life. He who believes in me will live, even if he dies; and he who lives and believes in me will never die. Do you believe this?" Martha's affirmation that she really believes: "Yes, Lord. I believe that you are the Messiah, the Son of God, who is to come into the world," is only the second time (after Nathanael) that someone declares Jesus to be the Son of God and the first time that someone compares him as 'Messiah' and 'Son of God' together. The only other time this happens in the whole Gospel is in the explanation the author of the Gospel gives for writing his Gospel at the end. On entering the village, Jesus meets Mary and the people who have come to comfort her. Seeing her pain and weeping, Jesus is deeply moved. After asking where he was buried, the shortest verse of the four Gospels is found and the scripture says: Jesus wept. After that, Jesus asks for the stone to be removed from the tomb, but Martha insists that there will be a smell. To which Jesus replies, "Didn't I tell you that if you believe, you will see the glory of God?". Then Jesus looked up and said, "Father, I thank you for listening to me. I knew that you always listen to me, but I said this for the sake of the people who are here, so that they may believe that you sent me." When he had said this, Jesus cried out in a loud voice, "Lazarus, come out!" Then Lazarus came out, with his hands and feet wrapped in strips of linen and a cloth around his face. Jesus said to them, "Take off your bandages and let him go. "Lazarus is mentioned again in chapter 12 of John's Gospel. Six days before the Passover in which Jesus is crucified, Jesus returns to Bethany and Lazarus attends a dinner at which Martha, his sister.

Estim. 6 000 - 8 000 EUR

Anglo-Saxon Gilt Bronze Cruciform Brooch Burial Group. 6th century A.D. Comprising a large cruciform brooch and two bronze small-long brooches; (A) the cruciform of 'florid' type much gilding and applied silver ornament; the headplate a central rectangle with a high-relief Style I motif, framed on three sides by sheet-silver bands and with panels of gilt billeting to the outer edges, lateral and upper flanges each formed as a stylised male face with conical eyes flanked by avian heads and with a T-shaped sheet-silver beard; the bow broad and flat with vertical columns of punched-pot detailing, and surmounted at the apex by a square panel with green enamel fill and reserved quatrefoil; the lower body with similar panel to the headplate with lateral vertical bands with punched detailing, outer edges with applied sheet-silver panels; below, the foot formed as a stern male face with heavy brows and conical eyes developing to a broad pelta-shaped finial with Style I ornament inside a raised border, lateral avian heads and punched detailing; to the reverse, a ferrous lump attached to the pin-lug and feint solder-scar where the catch was attached; some traces of mineralised fabric; (B) bronze small-long brooch with rectangular headplate divided into three panels, each with punched-point to the outer edges, shallow bow, narrow neck to the footplate with transverse ribbing, trapezoidal foot with punched-point edging; to the reverse, a large pin-lug with ferrous accretion and a small hooked catch below; (C) bronze small-long brooch with rectangular headplate flanked on three sides by T-shaped extensions with stepped profile, incised borderlines and punched pellets; deep carinated bow with stepped corners; pelta-shaped foot with punched pellets to the edges; to the reverse, a D-shaped pin-lug with ferrous accretion inside the bow, narrow catch with hooked edge absent. Cf. MacGregor, A. & Bolick, E., A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), Oxford, 1993, items 15.13, 15.45 (small-long brooches), and 12.36 (cruciform). 225 grams total, 6.3-17.5 cm (2 1/2 - 6 7/8 in.). The group belongs to a standard assemblage in 6th century female graves, with two smaller brooches worn at the shoulders to support a peplos dress, and a larger and more ornamental brooch worn on the chest to close a shawl or mantle. Found East Anglia, UK, early 1990s. Accompanied by a written report compiled by Anglo-Saxon specialist Stephen Pollington. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12287-221153. [3]

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