SANCHEZ (Thomas). Disputationum de S[ancto] Matrimonii sacramento. Venice, Joann…

Description

SANCHEZ (Thomas).

Disputationum de S[ancto] Matrimonii sacramento. Venice, Joannes Guerilius, 1619. 3 volumes in 2 in-folio, vellum, three-ribbed spine with title in ink (19th century binding). Famous treatise on marriage by the Spanish Jesuit Thomas Sanchez (1550-1610), whose original edition appeared in Genoa in 1592. The work, which was intended for confessors, is a perfect example of the Catholic Church's obsession with classifying sins, especially those of the flesh: it offers an incredibly detailed catalogue of all possible varieties of lust. Read Sanchez to learn the vocabulary of cases of conscience and to see all the filthy questions that confessors can ask their penitents, says the anticlerical Pierre Larousse in his great dictionary. The work is sought after today for its outrageously pornographic aspect. Volume III, a contemporary manuscript leaf in Latin has been bound between pages 32-33. Stamps on the titles. From the Jean-Claude Carrière library (I, 2013, n°257). Some light foxing, small paper loss to 2 leaves (with damage to the running title for one of them), 2 leaves detached, worm work in the inner margin of a quire. Small wormholes in the spines. Lining and endpapers renewed.

99

SANCHEZ (Thomas).

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Estim. 4 000 - 5 000 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Hommage a Joan Miró", 1973. Aquatint and carborundum on Guarro paper, H.C. copy. Signed, dedicated and justified by hand. Print run of 275 copies. Edited by Sala Gaspar. Referenced in the catalog raisonné, Jacques Dupin, "Miró engraver, vol. III: 1973-1975", nº868, p. 190. Measurements: 67, 5 x 49 cm (print); 77 x 56 cm (paper); 92 x 72 cm (frame). Made in 1973, this etching and carborundum engraving was published by the Sala Gaspar in Barcelona on the occasion of the celebration of the 80th anniversary of the birth of Joan Miró. It presents a suggestive composition that seems to be inspired by microscopic life. The white lines on the black background flutter with a life of their own, creating an almost alien world. Flashes of blue and red burst into certain areas adding to the mystery. Joan Miró was trained in Barcelona, between the Escuela de la Lonja and the Academia Galí. Already in the early date of 1918 he made his first exhibition, in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would mean his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Estim. 250 - 300 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Jaillie du calcaire", 1972. Lithograph on Arches paper. Titled on the back. Work registered at Patrick Cramer. "Joan Miró Lithographer VI. 1976 - 1981". Edited by Maeght Paris, nº 850, page 193. Measurements: 32, 5 x 25 cm. Lithograph of the Catalan artist made in 1972, in which we can observe his unmistakable style through a large form located in the center tending to the attraction, but with figurative features. Next to it, in a random way, several strokes are arranged, among which Miro's iconic star stands out. A resource used throughout his production and that forms a protagonist part of that personal imaginary that the artist created from symbols that he established as a cryptic language of surrealist heritage but with its own personality. Joan Miró was trained in Barcelona, between the Escuela de la Lonja and the Galí Academy. Already in the early date of 1918 he made his first exhibition, in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would mean his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. Work registered at Patrick Cramer. "Joan Miró Lithographer VI. 1976 - 1981". Edited by Maeght Paris, nº 850, page 193.

Estim. 500 - 600 EUR

*NEVIZZANO (Giovanni).

Estim. 80 - 100 EUR

Joannès DREVET (1854-1940) Varia Reunion of six (6) etchings View of Aigues-Mortes, signed in the plate lower left and dry-stamped with the monogram lower center. 33.5 x 26 cm -Naval battle, monogrammed in the lower right margin and annotated after MF. 22.5 x 28 cm -Tournus et l'Abbaye Saint-Philibert, signed in the plate lower right and located lower left. 19 x 14 cm -Le port de La Rochelle, signed in the plate lower right. 20.5 x 20.5 cm -Place à Gênes (Italie), 1922, printed on pink paper, signed and located in the plate lower right and dated lower left. 29 x 20.5 cm Venise, 1900, signed and dated in the plate lower left and dry-stamped with the monogram lower center. 32.5 x 25 cm

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