Null SABBATHIER (Esprit).
Idealis Umbra Sapientiæ Generalis. - The Ideal Shadow …

Description

SABBATHIER (Esprit). Idealis Umbra Sapientiæ Generalis. - The Ideal Shadow of Universal Wisdom. Paris: Madame Jablier, sister of François-Marie de Paris, 1679. - 2 works in one volume in-8, 169 x 127: (4 ff.), 21 ff. ; (4 ff.), 21 ff. Brown calf, spine ribbed (period binding). Caillet, III, 9731. - Dorbon, 4274. - Stanislas de Guaita, 921. Extremely rare" (Caillet) first edition of this fully engraved mystical work. According to Caillet, it was "undoubtedly printed in the form of a six-column table with compartments, which was then cut up at will to preserve it in book form. This unusual arrangement explains the extreme rarity of surviving copies, and their singular appearance". This text of high mysticism and Christian Kabbalah was composed by the Capuchin preacher and Kabbalist Esprit Sabbathier, originally from Ivoy in Berry. According to Stanislas de Guaita, it is "scholastic Theosophy in the best sense of the word". The edition was printed at the address of "Madame Jablier, sœur du R. P. François-Marie", referring to François-Marie de Paris (1634-1714), a Capuchin preacher of the Order of Friars Minor and close friend of the author. A precious copy in contemporary binding, enriched with the edition of the French translation published under the same date and printed in the same manner as the Latin edition. "According to Stanislas de Guaita, "These two parallel French and Latin editions, both fully engraved, are rarely found together. From the library of Nancy-based orientalist and writer Auguste-Prosper-François Guerrier de Dumast (1796-1883), Knight of the Legion of Honor (1846), Knight of the Spanish Order of Charles III (1823), Knight of the Mexican Order of Our Lady of Guadalupe (1866) and 3rd Class Knight of the Austrian Order of the Iron Crown (1868). He presided 3 times over the Stanislas Academy. Binding restored. Some soiling to leaves. Provenance : Handwritten bookplate "Bibliothecae Bertlans (?) 1689" on title. - Auguste-Prosper-François Guerrier de Dumast, with bookplate.

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SABBATHIER (Esprit). Idealis Umbra Sapientiæ Generalis. - The Ideal Shadow of Universal Wisdom. Paris: Madame Jablier, sister of François-Marie de Paris, 1679. - 2 works in one volume in-8, 169 x 127: (4 ff.), 21 ff. ; (4 ff.), 21 ff. Brown calf, spine ribbed (period binding). Caillet, III, 9731. - Dorbon, 4274. - Stanislas de Guaita, 921. Extremely rare" (Caillet) first edition of this fully engraved mystical work. According to Caillet, it was "undoubtedly printed in the form of a six-column table with compartments, which was then cut up at will to preserve it in book form. This unusual arrangement explains the extreme rarity of surviving copies, and their singular appearance". This text of high mysticism and Christian Kabbalah was composed by the Capuchin preacher and Kabbalist Esprit Sabbathier, originally from Ivoy in Berry. According to Stanislas de Guaita, it is "scholastic Theosophy in the best sense of the word". The edition was printed at the address of "Madame Jablier, sœur du R. P. François-Marie", referring to François-Marie de Paris (1634-1714), a Capuchin preacher of the Order of Friars Minor and close friend of the author. A precious copy in contemporary binding, enriched with the edition of the French translation published under the same date and printed in the same manner as the Latin edition. "According to Stanislas de Guaita, "These two parallel French and Latin editions, both fully engraved, are rarely found together. From the library of Nancy-based orientalist and writer Auguste-Prosper-François Guerrier de Dumast (1796-1883), Knight of the Legion of Honor (1846), Knight of the Spanish Order of Charles III (1823), Knight of the Mexican Order of Our Lady of Guadalupe (1866) and 3rd Class Knight of the Austrian Order of the Iron Crown (1868). He presided 3 times over the Stanislas Academy. Binding restored. Some soiling to leaves. Provenance : Handwritten bookplate "Bibliothecae Bertlans (?) 1689" on title. - Auguste-Prosper-François Guerrier de Dumast, with bookplate.

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Estim. 300 - 400 EUR

[HERVEY DE SAINT-DENIS (Marie-Jean-Léon marquis d'). Les Rêves et les moyens de les diriger. Practical observations. Paris, Amyot, 1867. In-8, [1] f., 1 front in color, 496 pp. Red half-basane, smooth threaded spine, gilt title (period binding). Covers and spines slightly rubbed. Without title leaf. The frontispiece and title leaf are reproduced here in facsimile. Underlined in pencil, foxing in places. Cuts restored without loss of text on pp. 351-352 and 353-354. First edition of this rare work rediscovered by the Surrealists, who were fascinated by dreams and the imaginary. Although Hervey de Saint-Denis is better known as a sinologist than as a precursor of Freud, his study of dreams is worthy of note. When he was a teenager, he developed the habit of drawing his dreams: "I soon had a special album, in which the representation of each scene and each figure was accompanied by an explanatory gloss, carefully relating the circumstances that had brought about or followed the appearance". He attempts to elaborate a method "as to the psychology of dreaming in general, and as to the practical means of evoking or dismissing certain ideas-images while asleep, of guiding the mind in its spontaneous or voluntary movements, and finally of conducting one's dreams according to one's desires". He compares his own experience with all the authors who have written on the subject, from antiquity to his contemporaries, before concluding: "if the dream state does not enable us to maintain that intellectual equilibrium which is indispensable for accomplishing a work of the mind which is in every way reasonable, it can at least open up horizons to the ideal world which are unknown in real life". "This very curious book is a skilful summary of the Science of Dreams from the most remote antiquity to the present day, and analyzes all the works of any importance that have appeared on the subject. In addition to numerous anecdotes personal to the author, there are clear and precise instructions for repeating the author's highly unusual experiments in this branch of Psychic Science. It is a veritable Encyclopedia on the subject." Caillet (5123).

Estim. 25 000 - 35 000 EUR

Eugène Paul, known as GEN PAUL (Paris 1895 - 1975) Belotte and rebelotte, circa 1926-1928 Original oil on canvas 73 x 92 cm Titled and countersigned on the back on canvas and stretcher Belotte et rebelotte Gen Paul Bears on the stretcher a handwritten label mentioning the exhibition March 16, 1995 April 1995 Couvent des Cordeliers Paris, as well as a sales note n°122 Bears on the stretcher handwritten annotations in blue chalk Portrait de Monsieur Guillaumin fils et de sa femme Provenance : Sale by Maîtres Champin, Lombrail, Gautier, Enghien-les-Bains, November 18, 1979, n°122 Exhibition : Exposition Gen- Paul , Couvent des Cordeliers, Paris, March-April 1995 Montmartre Les débuts de l'Art moderne 1880-1930, Aosta, August-October 1998 Bibliography : Montmartre Les débuts de l'Art moderne 1880-1930 exhibition catalog, Aosta, August-October 1998, Mondadori publisher, page 131, described and reproduced. Montmartre and art go hand in hand. Montmartre was home to many of the great artists who set up their easels there, and who at one time or another lived on the Butte, where I had the opportunity to meet almost all of them, from Bonnard to Picasso, from Gen Paul to Hélion and the surprising Cappiello, the first to have had the idea of putting art and advertising on paper [...]. [...] What is modernity in art? First of all, there has to be a break. A break with academic teaching. Then there must be creation. In Montmartre, the Atelier Cormon was an important place where tradition was firmly rooted. On the other hand, the color of the neighborhood lent itself to a greater freedom of spirit, and certain artists felt this need early on, and marked by the atmosphere, they were able to imbue themselves with it in order to express their temperament with sincerity. The aim of this exhibition is to pay tribute to these creators who gave birth to modern art. [...] The memory of places is transmitted through the personalities who lived there. The purpose of this exhibition is not to list them, but to evoke some of the most important figures. Overcoming the problem of location, some artists left Montmartre from time to time to develop their own concerns as painters elsewhere. Still others turned to spirituality or meditation, the turn of the soul sometimes taking over. [...] The Montmartre of yesteryear, which was fertile ground for so many artists, today produces images that are too stereotyped and soulless, confusing the visitor's mind and leaving only the shadows of past glories. A much-needed rehabilitation was needed to show the public just how much the history of art in Montmartre has counted. Roberto Perazzone, Montmartre, Les débuts de l'art moderne, La nascita dell'arte moderna 1880-1930, Musée régional archéologique, Région autonome Vallée d'Aoste, [July 11 - October 18 1998], Milan, Editoriale Giorgio Mondadori, 1998.

Starting price 12000 EUR

Tapestry from the Manufacture Royale d'Aubusson (France), mid-18th century. After a cartoon by Jean-Baptiste PILLEMENT (1728-1808) Technical characteristics : Wool and silk. Dimensions : Height : 290cm ; Width : 490cm. (Very good condition) (Minor wear and restoration) The subject of this panel's register is the allure of chinoiserie. At the time, chinoiserie themes were often interpreted in workshops in France and Flanders. Indeed, this type of tapestry panel was highly prized in salons. Here, the attributes of Diana, the Huntress Goddess (with red drapery, bow and quiver of arrows), and two dogs confronting a wild boar suggest that this panel was intended for the residence of a venerable "pig" hunter. A beautiful border depicting a frame with brightly-colored flowers enhances the tapestry. Characteristics of J-B PILLEMENT's style: He was a charming decorator, and his work is a precious document of 18th-century art. In 1767, Leviez, who had collected the plates engraved after Pillement, published them under the following title: Oeuvres de Jean Pillement peintre et dessinateur célèbre, composées de deux cents pièces dont une partie gravée par lui-même à l'eau-forte : les autres par Carnot, Ravenet, Masson, Wallet et autres habiles graveurs. The first part contains one hundred and thirty Chinese subjects, figures and ornaments, as well as various flowers. The remaining seventy are composed of pretty landscapes and seascapes decorated with figures and animals, the elements, the seasons, the hours of the day and other very pleasing subjects. This work includes mainly decorative elements, natural flowers, ideal flowers and fantasy flowers in the Chinese taste, typical of the Silk and Indian Manufactures. Pillement personally produced some charming etchings. Pillement loved brilliant colors and contrasts of light and shadow, and his paintings had the effect of illuminated theatrical sets, a very fashionable genre in London.

Estim. 30 000 - 35 000 EUR

CARAVAGGISTA MASTER; XVII century. "Christ and Nicodemus". Oil on canvas. Relined. Measurements: 86,5 x 121 cm; 100 x 136,5 cm (frame). In a landscape format the artist shows us the protagonists in the foreground, although the figure of Jesus stands out when using a red cloak whose expressiveness and symbolism anticipates the destiny of both men, in fact Jesus approaches the right hand towards Nicodemus who looks at him suspiciously, as requiring his help that will be provided in the most crucial moments of the life of Christ. The author anecdotally introduces numerous details that enrich the scene, such as the jewels and furs worn by Nicodemus and the still life of books that indicate that this is a man highly positioned in society for his work as a wise man. Technically, the author resorts to a composition of long tradition as a frieze, which allows to focus the attention on details such as the verism of the hands or the faces, in particular that of Nicodemus. Stylistically, the work shows a clear influence of Caravaggio and the followers of his style: theatrical use of a powerful spotlight, combination of this strong illumination with areas in darkness, use of diagonals, use of models inspired by the common people (although without the extraordinary realism of the Italian master in the present work because there is a greater degree of idealization in the faces), etc. Michelangelo Merisi da Caravaggio, known as Caravaggio, was an Italian painter, active in Rome, Naples, Malta and Sicily between 1593 and 1610. His painting combines a realistic observation of the human figure, both physical and emotional, with a dramatic use of light, which exerted a decisive influence on the formation of Baroque painting. Caravaggio depicted close anatomical observation with a dramatic use of chiaroscuro that would come to be known as tenebrism. This technique became a dominant stylistic element, darkening shadows and transfiguring objects into brilliant beams of light. He vividly expressed crucial moments and scenes, often involving violent struggles, torture and death. He worked quickly with models from life, dispensing with sketches to work directly on canvas. His influence was profound in the new Baroque style that emerged from Mannerism and can be traced in the works of great masters such as Pedro Pablo Rubens, José de Ribera, Rembrandt and Diego Velázquez, as well as in countless artists of the following generation, who because they manifested his profound influence were called "Caravaggists" or "Tenebrists".

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