Null [CANTAL]. [PEYRUSSE]
Fief lease by Barthélémy Echier to Giraud Gardel of la…

Description

[CANTAL]. [PEYRUSSE] Fief lease by Barthélémy Echier to Giraud Gardel of land near Peyrusse. Deed in Latin on parchment. Charter part (a truncated AMEN can be distinguished at the end of the charter, probably a charter part or chirograph) France, Albaret [Lozère], 1261 Dimensions: 210 x 175 mm. Attached: Fragment (or extract) of the account of extraordinary decimes granted to the king by the assembly of Orleans and collected in the dioceses of Mende, Rodez, Albi and Cahors. Undated document (probably before 1307, as it mentions Atho de Salvanhac, knight and collector of the "milicie Templi" (Temple militia or army). Document on parchment, in Latin Dimensions: 245 x 230 mm.

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[CANTAL]. [PEYRUSSE] Fief lease by Barthélémy Echier to Giraud Gardel of land near Peyrusse. Deed in Latin on parchment. Charter part (a truncated AMEN can be distinguished at the end of the charter, probably a charter part or chirograph) France, Albaret [Lozère], 1261 Dimensions: 210 x 175 mm. Attached: Fragment (or extract) of the account of extraordinary decimes granted to the king by the assembly of Orleans and collected in the dioceses of Mende, Rodez, Albi and Cahors. Undated document (probably before 1307, as it mentions Atho de Salvanhac, knight and collector of the "milicie Templi" (Temple militia or army). Document on parchment, in Latin Dimensions: 245 x 230 mm.

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Estim. 200 - 450 EUR

Reunion of 10 works by French socialists, including 7 by Proudhon, in 4 bound volumes! 1. PROUDHON (Pierre-Joseph): 1) Avertissement aux propriétaires, ou lettre à M. Considérant, sur une défense de la propriété. Second edition. Paris, Garnier Frères, 1848, 100 pp; (followed by). -2) Proposition relative à l'impôt sur le revenu, présenté le 11 juillet 1848, suivie du discours qu'il a prononcé à l'Assemblée Nationale le 31 juillet 1848. (Conforme au Moniteur Universel). Paris, Garnier Frères, 1848, 66 pp. ; (followed by). - 3) Organisation du crédit et de la circulation, et solution du problème social, sans impôt, sans emprunt, sans numéraire, sans papier-monnaie, sans maximum, sans réquisitions, sans banqueroute, sans loi agraire, sans taxe des pauvres, sans ateliers nationaux, sans association, sans participation, sans intervention de l'État, sans entrave à la liberté du commerce et de l'industrie, sans atteinte à la propriété. Paris, Garnier Frères, 1848, (4)-43 pp; (followed by). -4) Résumé de la question sociale ; banque d'échange. Paris, Garnier Frères, 1849, (4)-XIX-(1)-116 pp. + 2 ff. n.ch. (Extrait du cat. Baillière); 4 works in 1 vol. 11 by 17 cm. Crushed contemporary half-chagrin in oxblood, spine with ornate nerves. Good condition. Scattered foxing, a small ink stain in the ext. margin of 2 ff. (4th work). 1) 2nd edition (E.O.: 1841). Goldsmiths 36107; Kress C. 7543; Einaudi 4548. 2) First edition. Haubtmann p. 1067; Goldsmiths 35757; Kress C. 7549; missing from Einaudi. The Proposal of July 11, 1848 occupies pp. 3-7, the Speech of July 31, 1848, pp. 8-66. 3) 2nd edition, published the same year as the original. Goldsmiths 35756; Kress C. 7548; missing from Einaudi. 4) 2nd edition (E.O.: 1848). Goldsmiths 36697; missing from Einaudi. 2. Doctrine de Saint-Simon. First year. Exposition. 1829. Paris, Au Bureau de l'Organisateur, 1830. One volume. 12.5 by 20.5 cm. (8)-XL-327 pages. Contemporary cherry half-chagrin, spine ribbed and decorated. Spine faded, corners slightly dulled. Small corner wetness on half the pages, scattered foxing. First edition. Fournel pp. 68-72; Walch 551; Gerits-Walch 141; Einaudi 1593. "L'exposition de la doctrine was in no way, as one might suppose, a simple summary of the School's earlier works and of Saint-Simon's oeuvre. In every respect, it constitutes an original work." (Charléty, Hist. du Saint-Simonisme p. 49). It was mainly written by Carnot, Fournel and Duveyrier, and reread by Enfantin. 3. PROUDHON (Pierre-Joseph): 1) De la célébration du dimanche considérée sous les rapports de l'hygiène publique, de la morale, des relations de famille et de cité. Paris, Garnier Frères, 1850, 84 pp; (followed by). -2) Rapport du citoyen Thiers, précédé de la proposition du citoyen Proudhon, relative à l'impôt sur le revenu, et suivi de son discours prononcé à l'Assemblée nationale le 31 juillet 1848. (Conforme au Moniteur universel). Paris, Garnier Frères, 1849, 87 pp; (followed by). -3) Banque du peuple, followed by the report of the commission of Luxembourg delegates. Paris, Garnier Frères, 1849, 52 pp. 3 works in 1 volume. 11 by 17 cm. Contemporary cherry half-chagrin, spine ribbed and decorated. Good condition. Scattered foxing. 1) The original edition dates from 1839. 2) Pp. [3] to 7: Proposition relative à l'impôt sur le revenu ; pp. [9] to 28: Rapport de Thiers ; pp. [29] to 87: Discours de Proudhon du 31 juillet 1848. 3) First edition. Rare. Haubtman, P.-J. Proudhon p. 1067; Goldsmiths 36692. 4. Almanach du nouveau monde. 1850 [and 1851]. Paris, Au Bureau du Nouveau Monde, s.d. [1850-1851], 2 years in 1 volume. 11 by 15 cm. 176; 160 pages. Contemporary oxblood half-chagrin, spine ribbed. Some foxing and very slight marginal dampening (year 1851). 4 pages of music and in-text illustrations. All that has appeared of this almanac. Carteret 2554. "Almanach composed of articles by proscribed deputies, Louis Blanc, Etienne Arago, Rattier, Martin Bernard, Barthélémy. With Le travail, music by Victor Lefebvre, poetry by Etienne Arago. Should have contained articles by Barbès and Albert, which were unable to arrive due to the difficulty of communicating with the prisoners at Doullens. The title for 1851 also reads: "Par Louis Blanc".

Estim. 800 - 1 000 EUR

ROBERTO DOMINGO FALLOLA (Paris, 1883 - Madrid, 1956). "At the racecourse in Paris". Oil on paper. Signed and located in the lower right corner. The frame has slight flaws. Measurements: 23 x 31 cm; 48 x 57 cm (frame). Domingo began his artistic training in Paris with his father, the painter Francisco Domingo Marqués. There he also knew first hand the French impressionism. In 1906 he moved to Madrid and entered the San Fernando Academy of Fine Arts, where he was a disciple of Antonio Muñoz Degraín. He took part in national and foreign exhibitions, obtaining the third medal in the National Exhibition of Fine Arts in 1908, second in the 1910 edition and first in 1915. In 1911 he had a solo exhibition in Rome, at the Fine Arts Pavilion. He also showed his work continuously in several Spanish and London galleries, such as Baillie and Tooth. A costumbrist painter, he specialized in bullfighting themes, which brought him great fame and prestige. His work is characterized by the expressiveness of the stain and the stroke, capturing the reality through a sensitivity that connects with the tradition of Goya, Lucas and Alenza. The spontaneity, fluidity and dynamism of his work is largely due to his ability to memorize reality in his retina and then transfer it to the painting with his own nuance, simplifying the lines and diluting the colors. This vibrant emotion was also appreciated by great international artists of the time, such as John Singer Sargent and Gerald Kelly, who were among his clients. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum of Granada, the Provincial Museum of Cadiz, the Municipal Museum of Madrid, the Bullfighting Museum of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and the Havana and Hemingway Museums of Cuba, among many others.

Estim. 200 - 300 EUR

ROBERTO DOMINGO FALLOLA (Paris, 1883 - Madrid, 1956). "Racing day in Paris", 1909. Ink on paper. Signed, dated and placed in the lower corner. It has some flaws in the paper and in the frame. Measurements: 22 x 26 cm; 36 x 39 cm (frame). Domingo began his artistic training in Paris with his father, the painter Francisco Domingo Marqués. There he also got to know first hand the French impressionism. In 1906 he moved to Madrid and entered the San Fernando Academy of Fine Arts, where he was a disciple of Antonio Muñoz Degraín. He took part in national and foreign exhibitions, obtaining the third medal in the National Exhibition of Fine Arts in 1908, second in the 1910 edition and first in 1915. In 1911 he had a solo exhibition in Rome, at the Fine Arts Pavilion. He also showed his work continuously in several Spanish and London galleries, such as Baillie and Tooth. A costumbrist painter, he specialized in bullfighting themes, which brought him great fame and prestige. His work is characterized by the expressiveness of the stain and the stroke, capturing the reality through a sensitivity that connects with the tradition of Goya, Lucas and Alenza. The spontaneity, fluidity and dynamism of his work is largely due to his ability to memorize reality in his retina and then transfer it to the painting with his own nuance, simplifying the lines and diluting the colors. This vibrant emotion was also appreciated by great international artists of the time, such as John Singer Sargent and Gerald Kelly, who were among his clients. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum of Granada, the Provincial Museum of Cadiz, the Municipal Museum of Madrid, the Bullfighting Museum of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and the Havana and Hemingway Museums of Cuba, among many others.

Estim. 100 - 150 EUR

Tobiesen Duby, Traité des monnoies des barons ou Représentation et explication de toutes les monnoies d'or, d'argent, de billon & de cuivre, qu'ont fait frapper les possesseurs de grands fiefs, pairs, évêques, abbés, chapitres, villes & autres Seigneurs de France. Paris, Imprimerie royale, 1790. Volume 2 only. Complete with 51 plates (n°LXX to CX and supplements I to X). Full modern basane. Uncommon.

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