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Travelling Prayer Book Spiritual Shield to be carried at all times against spiritual and physical dangers, therein very appropriate blessings and prayers [...], Mainz 1647, unpaginated, bound "Ein schöner und wol approbirter H. Segen zu Wasser und Land gegen alle seine Feinde so ihm begegnen auf allen seinen Wegen und Stegen", no year, Prague, furthermore "Geistliche Schild-Wacht, darinnen einer alle Stunnd einen besondern Patron erwehlen kann", Custoilia Angeli printed with beautiful figures, format 12°, contemporary leather binding with thin wooden boards, several woodcut illustrations in the text, spine with defects, book block loose, signs of age and study.

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Travelling Prayer Book Spiritual Shield to be carried at all times against spiritual and physical dangers, therein very appropriate blessings and prayers [...], Mainz 1647, unpaginated, bound "Ein schöner und wol approbirter H. Segen zu Wasser und Land gegen alle seine Feinde so ihm begegnen auf allen seinen Wegen und Stegen", no year, Prague, furthermore "Geistliche Schild-Wacht, darinnen einer alle Stunnd einen besondern Patron erwehlen kann", Custoilia Angeli printed with beautiful figures, format 12°, contemporary leather binding with thin wooden boards, several woodcut illustrations in the text, spine with defects, book block loose, signs of age and study.

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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.

Renoux cutlery The Nautilys Entirely hand-crafted. Liner lock knife. Handle size: 11.3 cm / Blade size: 9 cm Handle in finely hand-polished, fiber-mounted, stabilized Charentais boxwood. X 20 C 13 hardened stainless steel plate / 12C27 Sandvik cryogenized satin-finish blade; Blade hardness: 59 / 60 HRC (which gives the knife an outstanding cut). Pascal RENOUX's career path is unique, combining rigor and excellence. His expertise is evident in every one of his his work. Each world he has explored - gunsmithing jewelry, forging and cutlery, allows him to transpose him to transpose them ad infinitum and bring to life creations. Pascal RENOUX likes each and every one of his creations to meet his exacting standards: precision, mechanical and purity of line. Every detail is meticulously controlled, observed, to achieve excellence. An intention is carried into every creation believing in the alchemy of materials and the alchemy between you and the objects. This passionate craftsman was crowned meilleur ouvrier de France in 2018 for his exceptional craftsmanship. Le Nautilys: Reflecting the Royal history of the two Charentes. This model was created by Pascal RENOUX in 2009 as a tribute to the road of barrels and canons. The silhouette of its handle evokes silhouette of the traditional "gabarres" that transported on the Charente River from Angoulême (16) to Rochefort / Mer (17). Its clean, taut blade lines recalls the design of exceptional boats. exceptional boats. The file guilloche on the back of the blade back of the blade reflects the variations and waves surface of the water. The mounting screws are guilloché in brilliant lustre. The fluidity and precision of its mechanical quality will seduce you from the 1st "click" of operation. The The knife's body is completely open-worked knife body for easy maintenance and maintenance and cleaning. Mechanical smoothness is guaranteed by bronze washers and an anti-friction anti-friction ball. The blade marked with the "R" crowned in its shield guarantees an authentic RENOUX knife. This is a knife of excellence created by Pascal RENOUX, Meilleur Ouvrier de France.

Ludwig van Beethoven Autograph Letter Signed to the Brother-in-Law of Pianist Marie Pachler Scarce ALS in German, signed “Beethoven,” 4.5 x 7.75, April 22, 1816. Handwritten letter to Anton Pachler, in part (translated): "You can do me a great favor today if you will accompany me in the afternoon to Alsergasse, where the house appraisal will take place. Please kindly let me know in writing where I can pick you up around half past 2 this afternoon. I am still not feeling well, otherwise, I would have visited you long ago." In very good to fine condition, with overall creasing, and two areas of paper loss to the integral address leaf which have no effect on the letter itself. Accompanied by a carte-de-visite-type portrait of the composer, a contemporary identification slip, and an export certificate from the French Ministry of Culture. The recipient of the letter, jurist Anton Pachler, was the elder brother of the Graz lawyer Dr. Carl Pachler. The latter's wife, Marie Leopoldine Pachler (1794-1855), née Koschat, would become particularly esteemed by Beethoven as an interpreter of his piano compositions [cf. Theodor v. Frimmel, Beethoven-Handbuch, Vol. II, Leipzig 1926]. Notably, Marie Pachler was a close friend to Franz Schubert; Schubert dedicated his song, 'An Sylvia,' to her, and she performed with Schubert in an 1827 charity concert organized by the Graz Music Association. In April 1816, Beethoven lived "Auf der Seilerstädt" C. No. 1055/56 in the Count Lambert's house. The residence was first documented on May 15, 1816, by Charles Neate [Rudolf Klein, Beethovenstätten in Österreich, Vienna 1970, p. 89]; according to Smolle [Kurt Smolle, Wohnstätten Ludwig van Beethovens von 1792 bis zu seinem Tode, Munich/Duisburg 1970, p. 50], Beethoven had moved there after March 21, 1815, but possibly only lived there from autumn 1815 [Klein, Beethovenstätten, p. 90]. Aside from summer stays in Baden, the master remained here until the end of April 1817. On April 4, he wrote the two-part canon 'Ars longa, vita brevis' (WoO 170) for the departing Johann Nepomuk Hummel, and in the same month, he completed the song cycle 'An die ferne Geliebte' op. 98. Beethoven was in poor health at that time, a fact he acknowledges in this letter and others. 'I was unwell for some time,' he wrote to Ferdinand Ries on February 28, 'the death of my brother [on November 15, 1815] affected my mind and my works' [KK, p. 350]. On February 2, as the guardian of his nephew Karl, he placed him in the Giannatasio del Rio educational institution. In the following weeks, he was plagued by severe colic, but his health seems to have improved again in May. Why Beethoven was particularly interested in the house appraisal in Alservorstadt on April 16, where he had found his first Viennese residence in November 1792 at No. 45 Alsergasse (then called Alstergasse), is unknown. According to an entry in his diary, he seemed to be considering buying a house in the suburb at that time: 'To live and sustain oneself, a house in the suburb, nothing goes with Karl in the countryside' [Ludwig van Beethoven, Bericht der Zeitgenossen, edited by Albert Leitzmann, Leipzig 1921, Vol. II, p. 258, No. 98]. However, Beethoven did not move until about a year later, from the Sailerstätte to Gärnergasse in the suburb of Landstrasse [Smolle, Wohnstätten, p. 50].