Null Théodore BLANC (1891-1985) & Antoine DEMILLY (1892-1964).
Gondolas in Venic…

Description

Théodore BLANC (1891-1985) & Antoine DEMILLY (1892-1964). Gondolas in Venice. Vintage silver print mounted on heavy paper. Signed lower right in the margin. 29 x 35 cm.

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Théodore BLANC (1891-1985) & Antoine DEMILLY (1892-1964). Gondolas in Venice. Vintage silver print mounted on heavy paper. Signed lower right in the margin. 29 x 35 cm.

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Estim. 150 - 350 EUR

Reunion of 2 works of physiocratic inspiration: 1. [POLIER DE SAINT-GERMAIN (Antoine)]: Du gouvernement des moeurs. Lausanne, Jules Henri Pott & Comp. 1784. One volume. 12 by 20.5 cm. VI-337-(1) pages. Contemporary half basane with corners, spine with 5 ornate nerves. Paper on boards worn, otherwise good condition of binding and text. Uncommon first edition. Conlon 84: 1656; I.N.E.D. 3617. "Favorable to physiocracy [...], Antoine Polier de Saint-Germain proposes in particular to give land to the fathers of families who contribute to the growth of the population and to the laborers from whom society draws its sustenance. [...] He intends to replace a social order founded on the privileges of birth with another based on good morals." 2. LE CLERC (Nicolas-Gabriel): Abrégé des études de l'homme fait, en faveur de l'homme à former, dedicated to the representatives of the nation. Paris, Maradan, 1789. 2 volumes. 14 by 22 cm. XCVI-427; (4)-XXXIV-1 f. blank-398 pages. Modern bradel boards, ex. untrimmed. -Minor worm damage without affecting the text in the inner margin of 3 quires of the second volume (not serious), light spotting on qq. quires of the second volume, bookplates pasted to verso of titles. First edition. Quérard I-p. 316; Conlon 89: 9457; I.N.E.D. 2723. Vast project of progressive reforms on education, freedom of trade, natural law. "Nicolas-Gabriel Clerc, known as Leclerc (1726-1798), a French scholar sent by Louis XV on a mission abroad, settled in Petersburg, where he directed Catherine II's establishments before taking charge of the French translation of the tsarina's educational projects. Back in France, Leclerc proposed to revive the innovative ideas of German pedagogue Johann Bernhard Basedow (1724-1790) and presented a national education plan [inspired by Rousseau] to the French Constituent Assembly." The economic reforms proposed were physiocratic in inspiration: they were inspired by Dupont de Nemours.

Estim. 20 - 40 EUR

Lot of 17 studies on Balzac: Jean Ygaugnin, Paris in Balzac's time and in the "Comédie humaine". La ville et la société. Nizet, 1992, paperback. George B Raser, Guide to Balzac's Paris. Imprimerie de France, 1964, paperback, fold-out map. George B Raser, The heart of Balzac's, Paris. Imprimerie de France, 1970, paperback, plates. G Gougenheim Balzac et JF Oberlin. In mélanges, 1945, I. Etudes Alsatiques, les belles lettres, 1946. Michel Butor, Improvisations sur Balzac. Tome III "scènes de la vie féminine". La Différence, 1998, paperback. [Collectif], Balzac. Paris-Match "LEs Géants", 1970, publisher's binding. Maurice Bardèche, Une interprétation de Balzac. Martel, 1951, supplement to the edition of La Comédie humaine, with a suite in black. Philippe Murray, Balzac, le 19e siècle, l'occulte. Tel quel n°39, Autumn 1981, p.5 to 40. J Maurice, Histoire de la Vallée du Lys. Imprimerie centrale de Touraine, 1973, paperback. Maurice Allem, Balzac. Hachette, 1950, paperback. Michel Thibon Cornillot, Balzac-Marx et l'argent. In "Connexions" n°25, 1978. pp.62-103. René-Alexandre Courteix, Balzac et la Révolution française. Aspects idéologiques et politiques. Puf, 1997, roché. Robert Brasillach, Le Paris de Balzac. Preface by Maurice Bardèche. L'inédit, 1984. N°227 on white laid paper, in sheets. Marcel Girard, Tours dans l'œuvre de Balzac. Promenade littéraire. City of Tours, 1999. Booklet. Romain Guignard, Balzac and Issoudun. Issoudun, Gaignault, 1949, paperback. Unesco (collective), Hommage à Balzac. Mercure de France, 1950, paperback. Alain, Reading Balzac. Laboratoires Martinet, 1935, paperback. Lot of 17 studies on Balzac: Stefan Sweig, Three Masters: Balzac, Dickens, Dostoyevsky. Belfond, 1951, paperback. René-Alexandre Courteix, L'Humanitarisme, hypocrisie de la société moderne? -Balzac's premonitory vision. L'Écritoire du Publieur, 2006, paperback. [Collectif] Textes réunis par Andrea Del Lungo et Alexandre Péraud, Envers balzaciens. La Licorne, 2001, paperback. Philippe Bertault, Balzac. Hatier, 1962, paperback. Eugène Poitou, M. de Balzac, étude morale et littéraire. From Revue des Deux Mondes, vol. 6 N° 4 (December 15, 1856) pp. 713-767. [Collective] Avec Balzac - Pour le centenaire de sa mort. Librairie Armand Colin, Sté d'Histoire Littéraire de la France, 1950, paperback. [Collective] Analyses & reflections on Balzac Le Chef-d'œuvre inconnu, Gambara, Massimilla Doni. Ellipses, 1993, paperback. Gérard Farasse Envois & Dédicaces. Presses Universitaires du Septentrion, 2010, paperback. Pal Ronai Jegyzetek Honoré de Balzac Fiatalkori Regényeihez. Budapest, 1930, paperback, consignment to Balzac bookseller Georges Courville. Dr Max Ridard, Louis Lambert et la métapsychologie balzacienne. Imprimerie R. Foulon, 1960, paperback, mailing. Alain Henry and Hilde Olrik, Le Texte alternatif - Les antagonismes du récit dans l'Histoire des Treize de Balzac. Copenhagen, Romansk Institut, January 1978. Paperback. Maurice Serval, Autour de Balzac "César Birotteau". Armand Colin, 1931. Paperback. With a letter to Serval. Madeleine Berry, Balzac. Edition universitaires, 1972, paperback. Hubert Gillot, Le Médecin de campagne -Deuxième étude balzacienne. Georges Courville, 1938. Paperback. Georges Ascoli, Balzac romancier - Le Père Goriot. Center de Documentation Universitaire, 1939. "Les Cours de la Sorbonne" Fascicule IV. Typescript paginated 77 to 96. Philippe M. Denizot, Catalogue de la Comédie humaine de Balzac. Art et Poésie de Touraine, 1969. Mimeographed self-published work, limited edition of 300 copies. Pierre-Georges Castex, Nouvelles et Contes de Balzac (Études philosophiques). Center de Documentation Universitaire, 1961. "Les Cours de la Sorbonne". Mimeograph of 92 p. Signed hand-written letter from the author to Dr. Fernand Lotte. Lot of 18 studies on Balzac: Pierre-Antoine Perrod, En marge de La Comédie Humaine. Lyon, Henneuse, 1962. Paperback. Judith Meyer-Petit, Les Mots de Balzac. Éditions Paris Musées / Actes Sud. 1999. paperback. Jacques Borel, Proust et Balzac. José Corti, 1975, paperback. Safei-El-Dine Awad and Dr. Mohamed Ambar, Balzac - Eugénie Grandet - Etudes littéraires. Cairo, Dar El Nahda, 1982. Paperback. [Collectif] Un Roman au Musée: Le Colonel Chabert. Paris Musées, 1997. Paperback. Hermann Sattler, Honoré de Balzacs Roman La Peau de chagrin. Halle, Druck von Ehrhardt Karras, 1912. paperback. Louis Bourreau, Un Roman provinois de Balzac: Pierrette. Montereau, Imprimerie Claverie, 1934. Booklet. [Collective] Issue devoted to Balzac. Revue des Sciences Humaines, N° 57-58 January-June 1950. paperback. Claude Bremond and Thomas Pavel, De Barthes à Balzac - Fictions d'un critique , critiques d'une fiction. Albin Michel, 1998. Paperback. Wolfgang Eitel, Balzac in Deutschland - Untersuchungen zur Rezeption des französicschen Romans in Deutschland 1830-1930. Lang, 1979. paperback

Estim. 80 000 - 90 000 EUR

AMBROSIUS BENSON and Workshop; ca. 1600 (Lombardy, active in Bruges from 1518 - Bruges, 1550). "Madonna and Child. Oil on oak panel. Engatillada. The painting shows some paint splashes, repainting and restorations. It has an ebony frame following 17th century models. Measurements: 94 x 73 cm; 135 x 115 cm (frame). This work follows the models of the painting attributed to Ambrosius Benson which belongs to the collection of the Museum of Fine Arts in Seville. The Virgin is seated, three-quarter length, with the Child, who embraces her, standing on her lap. Mary's silky hair falls in waves of golden tones over the red mantle, which stands out against the dark background. The work shows a strong stylistic influence of Roger van der Weyden and is repeated with minor variations on numerous occasions in the 16th-century Bruges school. It also bears similarities to a painting in the collection of the Museum of Saragossa from the Monastery of Veruela. Ambroisus Benson was one of the so-called masters of the tradition, a successor of Van der Goes, and was influenced by Van Eyck, Van der Weyden and the Flemish Primitives in general. However, his work reveals 16th-century features from Italy, such as the triangular composition that can be seen in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now held in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Thus, Mannerist influences arrive in the Netherlands, superimposed on the 15th-century style.

Estim. 50 - 80 EUR

Madeleine RENAUD (1900 - 1994) Hydrangea and mimosa bouquet with white and blue earthenware vase Watercolor and white gouache on brown paper Signed lower right 23 x 31.5 cm Wavy paper

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