Null [SIMON, Richard] Disquisitiones criticae de variis per diversa loca et temp…

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[SIMON, Richard] Disquisitiones criticae de variis per diversa loca et tempora Bibliorum editionibus. Quibus accedunt castigationes theologi cujusdam Parisiensis ad opusculum Isa[aci] Vossii de Sibyllinis oraculis et ejusdem responsionem ad objectiones nuperae criticae sacrae. London R. Chiswel 1684 4to: [16]-279 pp. (occ. contemp. ms. annot.). Contemp. vellum, flat spine with a library shelf-mark label. Good copy. First edition of this book based on extracts from Books I and II of the "Histoire critique du Vieux Testament" (1st Paris 1680) by the French exegete Simon (1638-1712), the "theologi cujusdam Parisiensis" mentioned on the title, considered by the Pontifical Biblical Commission as the father of modern exegesis. The work, dedicated by Robert Denison of Oxford to John Hampden, is a critique of the different Bible editions published at different times and in different places. It ends with a part about the Vossius' treatise on the oracle of Sybil and objections of holy critics. Ref. BnF. - Opac KBR. - Opac SBN. - ESTC R4972.

1091

[SIMON, Richard] Disquisitiones criticae de variis per diversa loca et tempora Bibliorum editionibus. Quibus accedunt castigationes theologi cujusdam Parisiensis ad opusculum Isa[aci] Vossii de Sibyllinis oraculis et ejusdem responsionem ad objectiones nuperae criticae sacrae. London R. Chiswel 1684 4to: [16]-279 pp. (occ. contemp. ms. annot.). Contemp. vellum, flat spine with a library shelf-mark label. Good copy. First edition of this book based on extracts from Books I and II of the "Histoire critique du Vieux Testament" (1st Paris 1680) by the French exegete Simon (1638-1712), the "theologi cujusdam Parisiensis" mentioned on the title, considered by the Pontifical Biblical Commission as the father of modern exegesis. The work, dedicated by Robert Denison of Oxford to John Hampden, is a critique of the different Bible editions published at different times and in different places. It ends with a part about the Vossius' treatise on the oracle of Sybil and objections of holy critics. Ref. BnF. - Opac KBR. - Opac SBN. - ESTC R4972.

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Estim. 80 - 100 EUR

HISTORY - LODOVICO I of Bourbon (Colorno, 1773 - Florence, 1803) - Autograph letter signed Autograph letter signed, dated Badajoz, February 3, 1796, by the son of Ferdinand, Duke of Parma and husband of Maria Luisa, daughter of Charles VI of Spain, since 1795. He informs the correspondent that he has not had a chance to "parlare al Principe della pace, per Ravanet" (Simon Jean François Ravenet, was a French engraver who moved to Parma in 1759, where he became a court engraver) but hopes "che non passerà domani". He then moves to some hunting anecdotes. "La pernice si sarà perduta, come molti pacchetti del parte, ma pazienza, primieramente le varietà accidentali non mi premono tanto con le specie fisse, in secondo luogo il re mi à detto che ne à viste altre due, e spera di ucciderle...". 1 p. In-8°. In Italian. Slight ink stain on the upper margin.

Estim. 100 - 150 EUR

OPERA - SPANI Hina (1890 - 1969) - Autograph letter signed Autograph letter signed, dated “Febbraio 5 ––“ by the Argentine soprano. Her real name was Higinia Tuñón. She made her operatic début at La Scala, Milan, in 1915, in the secondary rôle of Anna in Alfredo Catalani's “La Wally”. She sang regularly at La Scala and in all the leading Italian theaters until 1934. She also toured Australia with a first-rate troupe composed of some of La Scala's leading singers. At the Teatro Colón she was heard between 1915 and 1940, creating the title part in the world première of Respighi's “Maria Egiziaca” in 1934, as well as several operas by Argentine composers. To a “Maestro”: “…Ho visto ieri a Palma ch’è arrivato l’altra notte e ripartì stamane per essere qui di nuovo il 27 corrente. Lui ha tutte le miglior intenzioni di portarmi ed io di andare ma sono scontenta del repertorio perché mi apre la Jenufa (nuova) l’altra soprano di Armida e una argentina – Io vorrei il Simon Boccanegra per essere a parità, in parte, di condizioni artistiche con le mie colleghe che vengono a colori (…) Quella sig.ra Helm che non ha mai cantato né Armida, invade il campo di tutte le altre pur di non lascaire posto per altre artiste e vuol cantare tutto. Non è intelligente nel fare così, è anzi un pericolo per lei…”. 2 pp. In-4. With letterhead “Hôtel Manin/Milano”. - This item is under temporary import. If the item is delivered within the United Kingdom, it will be subject to a 5% Value Added Tax (VAT) on the hammer price.

Estim. 20 000 - 30 000 EUR

ATTRIBUTED TO HENRI MATISSE (FRENCH 1869-1954): A BRUSH AND INK DRAWING ON PAPER 'TÊTE DE FEMME', 74cm x 53cm Mounted in a frame and glazed. 89cm x 70cm. Provenance: Property of a gentleman, Esher, Surrey. This work was purchased by the present owner in 1981 from a private French collector who acquired it from Simon Abitbol, a notable Parisian art dealer with premises at 2 Rue Drouot, next to where the famous Hotel Drouot auction house is located. According to a leading Matisse authenticator, it appears to have been inspired by a comparable drawing which is very similar in style and is published in Matisse’s 1943 illustrated book Themes & variations. However, it is generally acknowledged that in the later years of Matisse's career, he continued the refinement of the "Tête de Femme" series. Whilst the drawing has not been definitively authenticated, it possesses several attributes that suggest that it could be part of the Tête de Femme series. Matisse’s “Tête de Femme" drawings have had a lasting impact on the art world. They are notable for their elegance, simplicity and expressive quality. These drawings highlight Matisse's mastery in capturing the essence of his subjects with minimal lines and a keen sense of form. Despite the simplicity, the drawings are highly expressive and convey a range of emotions and personality traits through subtle variations in line and form. They exemplify his innovative approach to portraiture and his significant contributions to modern art. For other examples of Matisse 'Tete de Femme' works at auction, see below: 1. Christies, Impressionist and Modern Day Sale. Property from the Collection of Lew and Edie Wasserman, Lot 202, 2nd November 2011. https://www.christies.com/en/lot/lot-5492960 2. Sotheby's, The Emily Fisher Landau Collection: An Era Defined, Lot 130, November 9th, 2023. https://www.sothebys.com/en/buy/auction/2023/the-emily-fisher-landau-collection-an-era-defined-day-auction/tete-de-femme 3. Sotheby's, Impressionist and Modern Art: Part two, Lot 294. https://www.sothebys.com/en/auctions/ecatalogue/2003/impressionist-modern-art-part-two-n07936/lot.294.html

Estim. 80 - 120 EUR

Percy Parlo, "Salzburg" View over the Mirabell Gardens to the Hohensalzburg Fortress, mixed media (ink and gouache) on paper, signed and inscribed "P Parlo 1911" in the lower left area and titled "Salzburg" on the right, minimal creasing, matted and framed behind glass, mat opening approx. 30.5 x 24.5 cm. Artist information: also "Per Parlo", used both parts of the pseudonym as first name and surname respectively, artist's name for Dr jur. Werner Karl Klamann, German jurist and self-taught painter. Jurist and self-taught painter (1890 Petznick in Pomerania to 1967 Steinebach), briefly a pupil of Lucien Simon at a Paris painting academy, after 1945 he turned completely to art, travelled the world and studied in North Africa, France, Spain, Switzerland, Brazil, India and Bavaria, worked in Italy for a longer period, source: self-disclosure on the back of the painting and on the Internet.

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