JOÃO PENALVA - NASC. 1949 JOÃO PENALVA - NASC. 1949, "Os botões do Imperador", a…

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JOÃO PENALVA - NASC. 1949

JOÃO PENALVA - NASC. 1949, "Os botões do Imperador", acrylic on paper pasted on canvas, signed and dated 1985, on the back, Dim. - 120 x 150 cm

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JOÃO PENALVA - NASC. 1949

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Estim. 1 500 - 2 000 EUR

Louis ARAGON (1897-1982). Autograph manuscript signed, with sending L.A.S. [to André Gide], La Demoiselle aux Principes, [1918]; 5 and 1pages small in-4 (25.5 x 22 cm). Complete manuscript of this tale collected in Le libertinage (Éditions de la Nouvelle Revue Française, 1924). It was first published in Les Écrits nouveaux (II, 10, August-September 1918). Marked, according to Aragon himself, by a certain dandyism, this tale, inspired by Gide in the style of Paludes, was dedicated to André Gide. "The Marchande offered violets: Denis bought them, then, embarrassed, handed them to Céline, who was the first woman to come along. She believed in two truths: the immortality of the soul and the omnipotence of love"... The tale includes a 12-verse poem composed by Denis. The manuscript is neatly drawn up in turquoise ink on sheets of heavy wove paper and signed "Louis Aragon". It remained unknown to the editors of the Œuvres romanesques complètes, who did not record any manuscript for this tale. It is accompanied by a letter to André Gide, dated Wednesday 27th [February or March 1918]: "Maître J'ose vous envoyer ce conte, tout indigne qu'il soit de sa présenter devant vous. More eager to be judged on my good will than on my meager means, I have conceived the project of dedicating it to you: will you allow me to do so? Already too indiscreet in asking you to read this clumsy essay, I want to limit myself here to assuring you of my particular and respectful admiration, which knows no bounds"...

Estim. 1 500 - 2 000 EUR

Joseph Csaky (1888-1971) L'Aube, also known as L'Implorante 1944-1945 Terracotta Signed on the base "CSAKY 14 x 10 x 4 cm At the end of the Second World War, Csaky left Valençay, where he had taken refuge, and resettled in Paris, modeling numerous small clay figures. Dissatisfied, he destroys some of them in order to take them up again. The L'Aube terracotta belongs to this series, as do Le Soir et l'Aube (1945), Les deux Amies (1948) and Composition (1948), a group reproduced in Sculpture en France au XXe siècle. This work, a panorama of French sculpture compiled by critic Henri Martinie in 1949, presents Csaky alongside some fifty other sculptors, including Maillol, Despiau, Bourdelle, Poupelet, Richier... Related literature: Félix Marcilhac, Joseph Csaky, Les éditions de l'amateur, 2007 (p. 222-226; 366-367).

Estim. 5 000 - 6 000 EUR

A CONTEMPORARY BY CERVANTES PAYS TRIBUTE TO VASCO DE GAMA CAMOENS (Luis Vas de). OS LUSIADAS DO GRANDE Luis de Camoens Principe Da Poesia Heroica. Commentados pelo Licenciado Manoel Correa, Examinador Synodal do Arcebispado de Lisboa & Cura da Igreja de S. Sebastiao da Mouraria, natural da cidade de Elvas. Dedicados ao Doctor D. Rodrigo d'Acunha, Inquisidor Apostolico de Sancto Officio de Lisboa. Per Domingos Fernandez seu Livreyro. Em Lisboa, Pedro Crasbeeck, 1613. One volume, large in-8 (6 ff, 308 folios), full contemporary soft vellum, traces of laces, spine partly soiled, vellum restoration on second board. Minor worm damage in the lower margins of the first few leaves. The text is printed in italics and the commentaries in roman. Extremely rare seventh edition (the first dates from 1572) of this masterpiece of Portuguese literature. It is the first to include comments by Camoens' close friend Manoel Correa. This posthumous edition was edited by Pedro de Mariz, who wrote the introduction "Ao Estudioso da lição Poetica". He wrote the first biography of Camoens, which can be considered one of the most reliable. It is an epic about Vasco da Gama's expedition, which, after several failures, finally reached the Orient by sea. Camoens took advantage of the opportunity to "graft" the high points of Portugal's history onto this travelogue. The account of the voyage and the historical narratives follow very closely the sources of the chroniclers, but, wishing to create a poetic work, the author transposed the facts by resorting to mythology! With his lyrical, bucolic and elegiac temperament, Camoens thus creates a model of Baroque art, to which Cervantes refers several times (cf. Part II, & LVIII). D. Manuel III, 19; Brunet, I516.

Parte de vajilla de porcelana china con esmaltes de la familia rosa del "Serviço dos Pavões". China, Período Qianlong (1735-1795), h. 1760.

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