Null Guido de Monte Rocherii.
Hoc in libro habetur operaseque(n)tia: videlicet. …

Description

Guido de Monte Rocherii. Hoc in libro habetur operaseque(n)tia: videlicet. Opus preditissimu(m) Manipulus curatorum intitulatum Una cum Speculo sacerdotum et ecclesie: cum distinctio(n)e situatio(n)e misse: omnibus presbyteris apprime necessaria.(At the end of the text:) Lyon, Jean de La Palce, 1501. 8°. 119 leaves (without the last white one). With numerous woodcut initials. Leather binding of the 17th century on four bindings. (Rubbed). Not in Adams.Pettegree & Walsby 73086 (2 copies). The handbook compiled by the Spanish priest and jurist Guido de Monterocherii in the 14th century remained one of the most widely used manuals for the organization of the Mass and the hearing of confessions until the introduction of the Catholic Catechism by the Council of Trent. Around 200 medieval codices and more than a hundred incunabula exist, with numerous editions having appeared in France in particular. A charming copy with numerous contemporary marginalia by one hand, often quite extensive and unfortunately often trimmed. With numerous "Weiserhändchen". Some spotting throughout. Trace of moisture at the head of some leaves. Engraved bookplate of the Bibliotheca Reuterholmiana on the inside cover.

146

Guido de Monte Rocherii. Hoc in libro habetur operaseque(n)tia: videlicet. Opus preditissimu(m) Manipulus curatorum intitulatum Una cum Speculo sacerdotum et ecclesie: cum distinctio(n)e situatio(n)e misse: omnibus presbyteris apprime necessaria.(At the end of the text:) Lyon, Jean de La Palce, 1501. 8°. 119 leaves (without the last white one). With numerous woodcut initials. Leather binding of the 17th century on four bindings. (Rubbed). Not in Adams.Pettegree & Walsby 73086 (2 copies). The handbook compiled by the Spanish priest and jurist Guido de Monterocherii in the 14th century remained one of the most widely used manuals for the organization of the Mass and the hearing of confessions until the introduction of the Catholic Catechism by the Council of Trent. Around 200 medieval codices and more than a hundred incunabula exist, with numerous editions having appeared in France in particular. A charming copy with numerous contemporary marginalia by one hand, often quite extensive and unfortunately often trimmed. With numerous "Weiserhändchen". Some spotting throughout. Trace of moisture at the head of some leaves. Engraved bookplate of the Bibliotheca Reuterholmiana on the inside cover.

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Estim. 300 - 500 EUR

[Japan] [Japan] Extensive documentation including - I. Jippensha, A pied sur le Tokaido, Picquier, 1992. - D. Ogrizek, "Le Japon, un portrait en couleur, Odé, 1960. - E. Guimet, Promenades japonaise, drawings after nature by Regamey, publisher's binding, Charpentier, 1878. - C. Shimizu, Women of Japan, Imprimerie nationale 1997. - Une histoire du Japon à travers son art, Robert Laffont, 1965. - G. Fahr Becker, L'estampe japonaise, Taschen, 2007. - C. Shimiza, Le Japon du XIXe siècle, la redécouverte, AGEP, 1990. - C. Shimizu, L. Frédéric, L'art des estampes japonaise, Editions de Crémille, 1990. - J. Hillier, Les maîtres de l'estampe japonaise, Phaidon, 1954. - Le Japonisme," éditions Réunion des musées nationaux, exhibition catalog 1988. - M. Novak and Z. Cerna, Japanese Tales, GrÜnd, Bratislava 1970. - Donald Richie, L'art des fleurs au Japon hier et aujourd'hui, Bibliothèque des arts, 1967. - J. A. Michener, Estampes japonaises, Office du livre de Fribourg, 1964. - Various works. - Edmond de Goncourt, Outamaro, le peintre des maisons vertes, Roissart, Grenoble, full leather binding, illustrations hors texte, quarto, 1978. - La collection Tokugawa, Le Japon des Shogun, Musées des beaux arts de Montréal, 1989. - Sotheby's catalog, Huguette Beres collection, November 27, 2002 - S. E Lee, Hiroshige, carnets d'esquisse, Phébus, 2001 - M. Grivel, Hiroshige, Les albums du cabinet d'estampes de la BN, Albin Michel, 1984. - W. Boller, Hokusai, Editions Clairefontaine, Lausanne, 1955. - M. Ouspenski, Hiroshige, Cent vues d'Edo, Parkstone, 1997. - M. Forrer, Hokusai, Bibliothèque de l'image, 1996. - Hiroshige, Tokaido, Editions du Chêne, 1960, in a Japanese-style canvas slipcase. - Le Japon éternel by Kawase Hasui, Langlaude, 2011. - E. H and P. Jude, Mathurin Méheut, voyage d'un peintre breton au Japon, Ouest France, 2004. - Hokusai, " Les cents vues du mont Fuji ", Hazan , three volumes in facsimile bound in Japanese style, 2008 presentation by N. Delay - Portier et Poncetton, La femme dans l'art japonais, Librairie des arts décoratifs, Calavas, 1934. - Lafacadio Herna, Le Japon Inconnu, études psychologiques, Paris, Albin Michel, no date. - Fumiko Takebayashi, Contes japonais, Paris, Fasquelle, 193 - K. Yamata, Vies de Geishas, Paris, Gallimard, 1934 - Franz Toussaint, Les pins chantent, ornements de Vergély, René Kieffer éditeur, 193 - Céda Akinari, Contes de pluie et de lune, Paris, Gallimard, circa 1940 - M-H Lelong, Spiritualité du Japon, Julliard, La Croix du Sud, 1961 - Judith Gauthier, Le paravent de soie et d'or, Paris, Charpentier et Fasquelle, 1904 - I. Morris, La vie de cour dans l'ancien Japon, Paris, Gallimard, 1964 - P. Loti, Japoneries d'automne, Paris, Levy 1890 - Okakura Kakuzo, Le livre du thé, Paris, Delpeuch, 1927 - M. Dubard, Le japon pittoresque, Paris, Plon et Cie, 1879 - Kikou Yamata, Masako, Stock, 1942. Numbered edition 102 - Soulié de Morant, Le trésor des loyaux samouraïs, Piazza, 1927 - Régamey, Le Japon Pratique, Hetzel, circa 1890 Le chrysanthème solidaire, edition of the Smith manuscript Lesouef japonais 96, Paris, 1984, BN département des manuscrit - G. Atken, M. Delafond, La collection d'estampes japonaises de Claude Monet, Maison de Monet Giverny, 1987 - Utamaro, L'almanach des maisons vertes, Picquier, 2008 and miscellaneous - Japanese prints and drawings from the Vever Collection, Sotheby Parle Bernet, 1976 (3 volumes in quarto in slipcase. - Highly important Japanese prints from the Henri Vever collection: final part, Sothebys, identically bound sale catalog, 30/10/1997. - G.A. Audsley and James L. Bowes, La céramique japonaise, édition française, publiée sous la direction de M. A. RAcinet. In two volumes, Paris, Firmin Didot, 1880. Modern buff binding with corners.

Estim. 50 - 60 EUR

Ballets Russes (de Monte-Carlo). Conducted by W. de BASIL. [Program for the June 11, 1934 performance at the Théâtre des Champs-Elysées]. In-4 paperback with red cord, cover illustrated in color by Simon LISSIM. Color reproductions of sets and costumes by Raoul DUFY and André DERAIN and numerous black illustrations. Pitted covers. The program for the 1936-1937 season of the Ballets russes de Monte-Carlo, directed by Colonel W. de Basil, in two copies, in-4 br. with color illustrated cover by N. GONTCHAROVA, color reproductions of sets and costumes by N. GONTCHAROVA, Raoul DUFY, Pablo PICASSO, Léon BAKST, Cecil BEATON, Christian BERARD, etc. and numerous black illustrations.

Estim. 4 000 - 4 500 EUR

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003). "Still life". 1986 Oil on canvas Signed in the lower right corner. Titled and dated on the back. Certificate of authenticity issued by Esther Romero Fajardo enclosed. Measurements: 100 x 81 cm. Painter, sculptor, engraver and writer, his training was basically self-taught. When he was eighteen years old he had his first individual exhibition in the gallery N'Art in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

Estim. 100 - 200 EUR

ATHAYDE LOPES (n.1934) "Casario" ATHAYDE LOPES (n.1934) "Casario" Pintura a óleo sobre tela, representação "Casario". Assinado e datado 03. Emoldurado. Dim. Mancha: 49,5x69 cm. Dim. Moldura: 71,5x91,5x3 cm. # Athayde Lopes (n.1934). Nasceu em Santos, cidade praiana do Estado de São Paulo (Brasil) aos 16 de janeiro de 1934. Seu primeiro contato com a pintura foi aos 14 anos, através do talentoso pintor e professor italiano, José Roncoleto (Lubra), com quem teve aulas durante 4 anos. A base do seu aprendizado foi estruturada nos princípios da Escola Impressionista, pintava ao ar livre em companhia de outros jovens aprendizes.Muitos locais desta região litorânea foram visitados pelo grupo. O cheiro do mato, da chuva, o calor da terra, a brisa, tudo tinha que ser colocado na tela, porém a tenra idade os impedia de compreender tal exigência, todavia esforçavam-se para isto. Esse modo de trabalhar o mesmo tema ao lado dos colegas fazia com que se sentissem menos isolados e individualistas, permitindo a troca de preciosas informações técnicas. Nem mesmo o exercício da profissão de publicitário impediu Athayde Lopes de realizar esses passeios artísticos, buscando agora outras fontes de pesquisa. Tiveram o privilégio de suas visitas, as cidades litorâneas de Ubatuba, Itanhaém, Guarujá e Bertioga; e, as cidades serranas de Monte Alegre do Sul e Serra Negra. As imediações do Porto de Santos também não escaparam do seu minucioso olhar. Todavia, o local que permitiu o encontro com a sua verdadeira arte foi a região de Minas Gerais, as cidades históricas de Ouro Preto, Congonhas do Campo, Sabará, Mariana e São João Del Rei, que também foram palco das emoções do famoso escultor, Antonio Francisco Lisboa ("O Aleijadinho"), cuja obra imortal encontra-se espalhada por estas cidades.

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