1 / 4

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.

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

23 
Go to lot
<
>

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.

Estimate 2 500 - 3 500 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 26.4 %
Leave bid
Register

For sale on Friday 28 Jun : 14:00 (CEST)
paris, France
Ader
+33153407710

Exhibition of lots
jeudi 27 juin - 10:00/18:00, Ader
vendredi 28 juin - 10:00/12:00, Ader
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

Italian school; late sixteenth century. "Madonna and Child". Oil on canvas. Relined. Measurements: 121 x 94 cm; 123 x 105 cm (frame). In this canvas the author represents a scene very repeated in the History of Art especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and Baroque periods, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Italian school; late seventeenth century. "Madonna and Child". Oil on canvas. Measurements: 27 x 23 cm. In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and the Baroque, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Classicist artist View of St. Petersburg Circa 1800/50 Oil on canvas 157 x 158 cm, with frame 182 x 183 cm Titled "St. Petersburg" lower left The 19th-century painting depicts a view of Saint Petersburg and captures the splendour and architectural magnificence of Russia's imperial capital. The scene shows prominent landmarks such as St Isaac's Cathedral, the Iron Horseman, and the Blagoveshchensky Bridge. St Isaac's Cathedral in the background dominates the skyline with its massive dome. As one of the largest cathedrals in the world, it symbolises the architectural ambition and religious significance of the city. The artist immortalised the cathedral's intricate façade, its neoclassical columns and the surrounding square with its hustle and bustle. In the central middle ground is the Horseman of Honour on Senate Square, an iconic statue of Tsar Peter the Great, standing majestically on a granite plinth. Commissioned by Catherine the Great, the monument symbolises the power and vision of the Russian Empire. The dynamic posture of the statue, with Peter on a rearing horse, reflects the spirit of progress and enlightenment that he brought to Russia. The Blagoveshchensky Bridge or Annunciation Bridge in the foreground, the first permanent bridge across the Neva, is intended to illustrate the city's technical prowess. Completed in 1850, the cast-iron bridge connects Vasilievsky Island with the mainland and symbolises the technical progress of the time. The painting reflects the vibrant life of 19th century St Petersburg, with carriages, pedestrians and boats on the Neva, demonstrating the city's status as an important cultural and economic centre. The skilful use of light and shadow against a romantic sky emphasises the opulence and dynamism of the scene and gives an insight into the daily life and monumental architecture of one of the great European cities.

CLAUDIO BRAVO CAMUS (Valparaiso 1936 - Taroudant, Morocco 2011). Untitled, 1950. Charcoal and white pencil on paper. Framed with museum glass. Signed and dated in the lower right corner. Measurements: 70 x 125 cm; 95 x 152 cm (frame). The sensuality of this evocative work completely dominates the composition. A nude woman in a complex foreshortening is shown before the viewer completely oblivious to him. Her delicate and feminine anatomy is defined by a truthful volume, although not without a lack of transcendent idealization towards a classical beauty. The marked volumes, through the use of shadows and light, provide three-dimensionality to this body that seems to float in a light space, where the ideal is the woman's body as a concept, not a concrete woman, since we do not see her face, but the symbol of the feminine. The precision of the drawing and the technical quality of the work create a great game between reality and the imaginative that keeps the viewer expectant before the visual paradox posed by the author, a recurring feature in the work of Claudio Bravo. Born into a wealthy family of Chilean landowners, from an early age he had a clear artistic vocation and did not want to be part of the family business despite his father's insistence on his first son. He studied in a religious school and although with age he rejected all the Catholic dogmas learned in his childhood, he always had a certain interest in the mysterious aspects of religious life and a fascination for the lives of the saints. His style is influenced by classical and Renaissance perfection, as can be seen in the work we present here. He had his first exhibition at the Salon 13 in Santiago de Chile in 1954 at the age of 18. He discovers Dalí's surrealism, whose influence will be palpable in some of his future works, but always with a personal imprint. He obtains certain fame in Latin America and Europe as a portrait painter, a genre that he will never abandon since, in spite of the fact that he began to find it boring, it provided him with economic stability and an important social status. In 1961 he finally left Chile and arrived in Spain, settling in the capital of Madrid where he continued to cultivate fame and fortune until the beginning of the 70's when, finally, he headed for Tangiers, captivated, as he explained, by an incomparable light and climate. In 1981 he held his first exhibition at the Marlborough Gallery in New York, a gallery that has represented him internationally ever since, and in 1994 he held a major solo exhibition at the National Museum of Fine Arts, which became one of the most attended in history. For his merits and artistic contributions, he was granted Spanish nationality by the Spanish Council of Ministers on July 1, 2002.