Null [Michel d'AMBOISE]. Antonio Phileremo FREGOSO.

Le Ris de Democrite, et le …

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[Michel d'AMBOISE]. Antonio Phileremo FREGOSO. Le Ris de Democrite, et le pleur de Heraclite, philosophes sur les follies, & miseres de ce monde... interpretee en rime Françoise par Michel d'Amboyse. In-8, brown calf, decorated in the Du Seuil style with triple cold fillet, gilded fleurons at the corners and central cold fleuron, spine with 5 nerves ( contemporary binding). Brunet, I-224 // Cionarescu, 2446 // De Backer 259. 100 f. / A-M8, N4 / 109 x 169 mm. First edition of Michel d'Amboise's translation. The edition was shared with Arnoul L'Angelier, and the titles bear the name of one or the other. Fregoso presents Democritus, who laughs at certain human categories - adulterous wives, bankers, hunters, avaricious people, love-struck lovers, people of war - while Heraclitus weeps over the miseries of the world. Corrozet mark on last leaf. Old restored binding with defects, wear and stains, repaired angular loss to title and several leaves, renewed endpapers.

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[Michel d'AMBOISE]. Antonio Phileremo FREGOSO. Le Ris de Democrite, et le pleur de Heraclite, philosophes sur les follies, & miseres de ce monde... interpretee en rime Françoise par Michel d'Amboyse. In-8, brown calf, decorated in the Du Seuil style with triple cold fillet, gilded fleurons at the corners and central cold fleuron, spine with 5 nerves ( contemporary binding). Brunet, I-224 // Cionarescu, 2446 // De Backer 259. 100 f. / A-M8, N4 / 109 x 169 mm. First edition of Michel d'Amboise's translation. The edition was shared with Arnoul L'Angelier, and the titles bear the name of one or the other. Fregoso presents Democritus, who laughs at certain human categories - adulterous wives, bankers, hunters, avaricious people, love-struck lovers, people of war - while Heraclitus weeps over the miseries of the world. Corrozet mark on last leaf. Old restored binding with defects, wear and stains, repaired angular loss to title and several leaves, renewed endpapers.

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Estim. 80 - 200 EUR

1) [ROBBÉ DE BEAUVESET (Pierre-Honoré)]: Mon odyssée ou le journal de mon retour de Saintonge. Poëme à Chloé. The Hague, 1760, 125 pages + 4 t.p. figures. Bound with 2) [WATELET (Claude-Henri)]. Silvie. London [Paris, Prault], 1743, 1 title frontispiece-78 pages + 8 figures h.t. 9.5 by 16 cm. Full streaked black morocco, 5-rib spine, rich inner lace, double fillet on edges, all edges gilt (binding signed POUILLET). Slight scratches on the boards, a bump on one cut. Otherwise very good condition for this sober but stylish binding. Reunion of two charming volumes with engraved figures by Cochin. 1) First edition. C. Michel, Cochin et le livre illustré au XVIIIe s., n° 191. "Robbé asked his uncle Despille for four illustrations and had them engraved by their friend Cochin. The four drawings attributed without convincing reason to Cochin are in the Louvre." (C. Michel). In satirical verse, the author recounts his picaresque adventures on the road from Jonzac to Orléans, via Saintes, Chinon, Tours, Amboise and Blois. The third song features an apparition of Rabelais, who invites the author to pay him a visit. 2) First edition. C. Michel, Cochin et le livre illustré au XVIIIe s., no. 195. "Four vignettes of children's games, drawn by Pierre, engraved by Cochin fils. Nine in-8 size prints, 1 frontispiece and 8 plates drawn by M. Pierre, eight of which etched by M. Watelet, to which M. Cochin fils gave a few touches in different places on the varnish, before making them bite, & then made a few repeats with the burin in the places missed by the etching. The ninth print, La timidité d'Aminte, is engraved entirely by Cochin fils." (C. Michel). Roman à clef by an author who was a collaborator of the Encyclopédie.

Estim. 5 500 - 6 000 EUR

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.

Current bid 60 EUR

Around 200 exhibition posters from 1979 and 1973, including : LES PEINTRES TEMOINS DE LEUR TEMPS, Musée du Luxembourg Jean-Pierre ALAUT, two posters- Maurice de VLAMINCK- Musée des arts décoratifs, équivoques Sami BRISS- Charles ANTONIETTI- Gaston CHAISSAC, Musée national d'art moderne Léonor FINI, illustrations for Juan Bautista Pineiro's wonderful descriptions MACK- SITUATION, De Kooning Mathieu Pollock Galerie Albert Verbeke- MUSIC, musée d'art moderne de Paris, 1972-73- Jean HELION, 1973, Galerie Saint Germain- Jean JANSEM, les peintres témoins de leur temps, Musée Galliera- Jean JANSEM, Galerie Maurice Garnier 1973 - Paul REBEYROLLE, Galerie MAEGHT- Émile-Othon FRIESZ- Camille HILAIRE, Paysages méditerranéen Galerie 65 Cannes- KISLING et Montparnasse, Galerie CERNUSCHI, 1973 Dino DECCA Bernheim Jeune- DECARIS- L'univers poétique de Maï-Thu, peinture sur soie, galerie Vendôme, 1979- Félix LABISSE- Robert DELVAL- ROHNER- Maurice UTRILLO, Musée d'Albi (déchirures)- André MASSON, Galerie de Seine- CHEYSSIAL- BERTIERE- Gustave MOREAU AMIET- COCTEAU- Félix VALLOTTON- BORIO-Michel AMAR- H ADRIENSENCE- BERTIN- Jacques DUPONT- REYNIER- Francisco de GOYA- André NIVARD- AVATI- Antonio SEGUI- HANOTEAU Jean FOURNIER- SIMA (some torn at edges, tears, wear)

Current bid 50 EUR

Approx. 200 exhibition posters from 1983, including: Alain BONNEFOIT- Michel HAMEL- Jean GIRAUDOUX- Salon de la jeune peinture Robert TANCREDE- CREMONINI- André MINAUX- Groupe Objectal- Paul COLLOMB Jacques FAIZANT- Pierre TAL COAT- Salvador DALI- Antonio SEGUI- ASSADOUR- ANSELME (some torn at edges, wear)

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