Null [MILITARIA & UNIFORMOLOGIE] Jan Wladyslaw CHELMINSKI / Alphonse-Marie MALIB…

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[MILITARIA & UNIFORMOLOGIE] Jan Wladyslaw CHELMINSKI / Alphonse-Marie MALIBRAN - The Army of the Duchy of Warsaw Chez Leroy et Cie éditeurs à Paris, 1913 - A magnificent copy of the first edition of this reference work, with text by former artillery squadron commander Malibran and illustrations by Polish battle painter Chelminski. Complete with 48 color plates of uniforms, 10 plates (6 of portraits and 4 of standards and pennants) and 24 in-text vignettes. One of 330 numbered copies on papier d'arches, first edition, this one signed by Chelminski on the false title. Very fine, curiously unsigned binding in green half-chagrin with 4 large gilt ribbons decorated with arabesques and adorned with 3 imperial eagles, very slight rubbing. Particularly good condition, very fresh interior almost totally free of foxing, the plates on the covers perfectly preserved, and a quality binding for this imposing work. In-folio, (3) 314pp (2)

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[MILITARIA & UNIFORMOLOGIE] Jan Wladyslaw CHELMINSKI / Alphonse-Marie MALIBRAN - The Army of the Duchy of Warsaw Chez Leroy et Cie éditeurs à Paris, 1913 - A magnificent copy of the first edition of this reference work, with text by former artillery squadron commander Malibran and illustrations by Polish battle painter Chelminski. Complete with 48 color plates of uniforms, 10 plates (6 of portraits and 4 of standards and pennants) and 24 in-text vignettes. One of 330 numbered copies on papier d'arches, first edition, this one signed by Chelminski on the false title. Very fine, curiously unsigned binding in green half-chagrin with 4 large gilt ribbons decorated with arabesques and adorned with 3 imperial eagles, very slight rubbing. Particularly good condition, very fresh interior almost totally free of foxing, the plates on the covers perfectly preserved, and a quality binding for this imposing work. In-folio, (3) 314pp (2)

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Starting price 15 EUR

"ARMES MILITARIA" SPECIAL n°2 - The magazine for collectors of arms, insignia, vehicles and uniforms from all wars but especially 1914/18 and 1939/45 all belligerents - Hardback edition of issues 18 to 24 (March 1987 to September 1987) - TTB.

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Léonard de Géréon, La Rampe et les Coulisses. Esquisses biographiques des directeurs, acteurs et actrices de tous les théâtres. Paris, chez les marchands de nouveautés, 1832. In-8, 292p. An interesting work for the study of theater people of this period. Provenances: Henri Espirac (1890-1950), baritone and bibliophile; sale Anne-Marie Meininger (Tajan, March 15, 2007, no. 188). Bradel half parchment, title page, untrimmed. Paper yellowed, small tear at head of upper spine. Petite biographie des acteurs et actrices des théâtres de Paris. Avec l'âge de ces dames. Published in Paris, Marchands de Nouveautés, 1832-1833. Small In-16, 108p. Bradel, smooth white parchment spine, brown title-piece with gilt title, year of edition at tail. Contemporary binding. Some scattered foxing. A good copy. Petite biographie des acteurs et actrices des théâtres de Paris. Paris, Lemoine, 1826. In-16, 133p, paperback. Alphonse Karr, Les Guêpes. Paris, Au bureau du Figaro, 1840. In-32, 96-96-94p. First edition, gathering in 1 volume the 3 issues of May, June and July 1840: 96, 96 and 94 pages. Frontispiece repeated at the head of each issue, wood-engraved by Verdeil (no longer engraved from August 1840). With the publication of the July 1840 issue of "Les Guêpes", Balzac launched his "Revue Parisienne". Balzac, in association with DUTACQ, founded this magazine in the hope of achieving similar success to that of "Les Guêpes". The astute Dutacq was already publishing Alphonse Karr's successful magazine under the same conditions, with a monthly circulation of 20,000. We know that Balzac's Revue Parisienne was not as successful as expected (only 3 issues from July to September 1840), whereas Les Guêpes was published for ten years, from 1839 to 1849. Attractive period binding, red basane, spine with 3 nerves decorated with gilt motifs, 3 cold irons, gilt pallets and roulettes. 2 corners slightly dulled. Alexandre Laya, Etudes historiques sur la vie privée, politique et littéraire de M. A. Thiers - histoire de quinze ans. : 1830-1846. Paris, Furne & Paulin, 1846. 2 vol. in-8, XV-416-XLIIp & IV-215-CCLXXIIIp. Attractive half-basane, speckled edges, scattered foxing. Armand Dayot, Journées révolutionnaires - 1830 - 1848. Paris, Flammarion, sd. Oblong folio. Important work reproducing documents from the period: paintings, sculptures, drawings, autographs, etc. Prize book, full percaline with the coat of arms of the city of Paris. Joints worn at ends, corners worn.

Estim. 7 500 - 8 000 EUR

Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

Starting price 30 EUR

Lot de près de deux cent affiches d'expositions des années 1992 comprenant notamment : FOUNE JAN ORSET Sergueï TOUTOUNOV BERTHET Pierre ROUX Maurice DUFRESNE HAYA RAN Marie José SIMONNOT LAUZEROT DALI Salon de Montrouge Eugène BOUDIN Georges PACOUIL (certaines déchirées en bordure, usures)

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