Los binoculares de ópera de la princesa de Béarn-Viana

Título: Opera Glasses
Autor:  Lucien Falize
Fecha: ca.1885
Fuente: Wartski
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A pair of opera glasses by Lucien Falize composed of gold lavishly decorated with contrasting opaque and translucent enamels of vivid hues, further set with rows of diamonds, both cylinders bordered with striated agates and joined by openwork gold floral and foliate motifs, the centre section with swivelling adjustment knob similarly decorated and set at one end with a rose cut diamond, the other featuring an engraved initial ‘B’. Paris, c.1880.
The presence of the initial ‘B’ indicates that this luxurious objet d’art is likely to have been destined for the wife of Prince de Béarn-Viana (1840-1893), one of Lucien Falize’s most eminent patrons. He married Cécile de Talleyrand-Périgord, Princesse de Chalais in 1873, and from that date commissioned for her many pieces of jewellery from Lucien Falize.
The sophisticated enamels were carried out by one of two freelance enamellers, Louis Houillon or Etienne Tourrette, who both contributed to the masterpiece exhibited by Falize at the Exposition Universelle of 1889, the triptych ‘Les Trois Couronnements’, and were listed in partnership in the trade directory ‘Azur’ from 1880 to 1889 as ‘Emailleurs en Bijoux’. They both subsequently exhibited under their own names at the Salon de la Société des Artistes français and the Salon de la Société Nationale des Beaux-Arts.
Etienne Tourrette was awarded a Grand Prix at the Exposition Universelle of 1900.
Striated agates were set to the cover of a locket by Alexis and Lucien Falize, signed with their first registered poinçon and made before 1875.

La espada de Enrique Gastón de Bearn

Título: Sword Hilt (Empuñadura de espada)
Autor: Albert-Ernest Carrier-Belleuse
Fecha: 1881-1882
Fuente: The MET. Metropolitan Museum of Art, Nueva York
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The grip of this superb late-nineteenth-century sword hilt is a miniature sculpture in the round of the Virgin Mary. Revered as the Mother of God, Mary is the object of the greatest devotion in the Christian tradition after Jesus. The basket guard surrounding the grip is a splendidly executed low-relief sculpture that depicts the archangel Michael vanquishing Satan.
The hilt was modeled by the sculptor Albert-Ernest Carrier-Belleuse (1824–1887) and was carried out in gilt bronze by the goldsmith Lucien Falize (1842–1897) in Paris about 1882. It was commissioned by Gaston, Prince of Béarn and Chalais, whose coat of arms and motto, DEI GRATIA SVM QVOD SVM (By the grace of God I am what I am), appear on the hilt at the feet of the Virgin. Mary's status as the Queen of Heaven is conveyed by the sword pommel, made in the shape of a crown of lilies placed above her head. Lilies, which symbolize purity and the Virgin's calling as the mother of Jesus, are one of Mary's most frequently depicted attributes.
According to Béarn family tradition, the hilt represents Mary as Our Lady of Victory. This is one of the several forms in which Mary is invoked to meet special needs. Here it refers to her as the divine protector and patron of soldiers entering battle. the image of victory is vividly expressed by the presense of Saint Michael, the leader of the heavenly armies in the fight against the forces of evil. He is often depicted, as he is here, above a plummeting figure of Satan. The image is based on a passage in the Revelation of Saint John, the last book of the New Testament: "And there was war in heaven. Michael and his angels fought against the dragon, and the dragon and his angels fought back. But he was not strong enough, and they lost their place in heaven. The great dragon was hurled down––that ancient serpent called the devil, or Satan, who leads the whole world astray. He was hurled to earth and his angels with him" (Revelation 12:7–9).
Religious symbolism is frequently encountered in the decoration of arms made in Europe until well into the seventeenth century. The type of evocative sacred imagery found on this hilt, however, is almost without parallel in late-nineteenth-century weapons. The prince of Béarn was deeply devoted to the cult of Our Lady of Lourdes, which was founded on a widespread belief in the miraculous appearances of the Virgin Mary to a peasant girl in the town of Lourdes, in southwestern France, in 1858. Prompted by this faith, he commissioned several works of art on the subject of the Virgin Mary, including this exceptional sword.

Sancho, príncipe de Bearn y de Viana

Título: Real Despacho de Nobleza y Armas del Muy Ilustre señor Don Luis Juan Sanche Arsias de Galard de Bearn
Autor: Luis Vilar y Vilar, rey de armas
Fecha: 1894
Publicación: manuscrito, Madrid
Fuente: Les Amis du Livre Pyrénéen

Brevet de noblesse et attribution des armes pour Louis Jean Sanche Arsieu Galard de Brassac de Béarn (1863-1939) seul membre vivant de la fratrie de Laure Henry Gaston de Béarn (1840-1893). Somptueux manuscrit enluminé espagnol établi et signé par Don Luis Vilar y Vilar, Cronista y Rey de Armas du Roi Alphonse XIII, en son nom et en celui de la Reine-Régente Isabelle II, au bénéfice de Louis Jean Sanche Arsieu de Galard de Béarn (1863-1939) pour lui permettre de porter en Espagne les qualités, armes et titres de sa famille...

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Otras referencias:

Viana de Navarra, revista Blanco y Negro. 1921

Título: Viana de Navarra. La iglesia de Santa María. El Ayuntamiento. La portada de San Pedro.
Autor: José Mª de Huarte y de Jaúregui
Fotografías: SERVERT
Publicación: Revista Blanco y Negro
Fecha: 27-02-1921
Fuente: Hemeroteca ABC

Graves sucesos en Viana, 1913

Título: Graves sucesos en Viana. Un muerto y ocho heridos. Pamplona (mastes noche)
Publicación: La Correspondencia de España
Fecha: miércoles 12-11-1913




Hotel y residencias El Bordón

Título: Proyectos de alojamientos: Anteproyecto de hotel y residencias El Bordón en parajes Salobre y La Cadena de Viana. Fotografía de plano de perspectiva
Serie: Control de empresas y actividades turísticas
Productor: DELEGACIÓN PROVINCIAL DE INFORMACIÓN Y TURISMO
Fechas: 1965
Lugar: VIANA - NAVARRA - ESPAÑA
Fuente: Archivo de Navarra
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