Null Circle of Cornelius Johnson van Ceulen,
Anglo-Dutch 1593-1661-

Portrait of…

Description

Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

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Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

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Estim. 120 - 250 GBP

[Jacob Cats] Faces augustae, sive poematia, quibus illustriores Nuptiae, a nobili & illustri viro, D. Jacobo Catsio, eq. & praepot. Holl. Frisiae occidentalis ord. syndico, antehac Belgicis versibus concriptae, Jam a Caspare Barlaeo & Cornelio Boyo Latino carmine celebrantur. Ad Serenissimam Principem Elizabetham, Fred. Regis Bohemiae & Electoris Palatini Filiam. Dordraci, sumptibus Matthiae Havii, & Typis Henrici Essaei, 1643. One volume. 9 by 15 cm. 1 portrait-(62)-272 (Paradisus)-149-(1) (Dialogi aliquot nuptiales)-32 (Faces sacrae)-198 pages (Sermonum). 19th century green half-chagrin, 4-nerved spine. Edges slightly worn, otherwise a very fine copy. Few brown spots, otherwise very good condition of the text. 1 portrait and 14 figures engraved in the text, of fine artistic quality. First edition of this collection of four separately paginated texts on love and marriage, composed on the occasion of the second marriage of Jacob Cats, Flemish poet and statesman. Included are 14 poems on marriage, 9 by the great humanist Caspar Barleus (van Baerle), 1 by Jacob Cats, 4 by Cornelius Boyus; Jacob Lydius's treatise on matrimonial rites and divorce among various peoples. The work is dedicated to Elisabeth of Bohemia. It is decorated with a full-page portrait of her and 14 mid-page engravings. The illustration is by Crispin Van Queboorn, a Dutch draughtsman and engraver. Some of the figures bear his monogram. Bound at the beginning of the volume: CATS (Jacob): L'art du mariage. Latin poem by J. Cats, grand-pensionnaire of Holland, with commentary by Lidius, translated into French, with facing text. [Juxtalinear edition]. Paris, Barrois l'Aîné, 1830, pp. [3] to 121. Scattered foxing on this volume.

Estim. 100 - 150 GBP

Gabriel van Schnell (1908-1946) Dutch. Portrait of a Lady, Watercolour and ink, Signed and dated 1932, 14.5" x 10.25" (36.8 x 26cm)

Estim. 10 000 - 15 000 GBP

Surroundings of Jean Marc NATTIER (1685-1766) Portrait of Louis François Armand de Vignerot du Plessis, Duc de Richelieu (1696-1788), Marshal of France, in armor Oil on canvas 149.4 x 117.2 cm Important carved and gilded wood frame stamped Infroit JME Provenance : - Given to Monsieur de Montillet in 1784. Maréchal de camps des armées du Roi, premier enseigne de la première compagnie des mousquetaires de la garde du Roi, he was Chevalier de l'Ordre Royal et militaire de Saint Louis. - Paul Berttholle Collection, Paris - Sotheby's sale June 8, 2007, lot 373 - An apartment in Isle Saint Louis - Paris Exhibition: - Paris, Exposition Restrospective des Colonies Françaises de l'Amérique du Nord, April-June 1929, n°30, p.58, rep. p.61 Literature : - Louis Réau, "Carle van Loo, Jean Restout, les lithographies de paysages en France à l'époque romantique", in Archives de l'art français , tome XIX, Paris, 1938, no. 138; - N. Jeffares, Dictionnaire des pastellistes avant 1800 , London 2006, p. 534; - MH Trope, Jean Valade : peintre ordinaire du roi, 1710-1787 , exhibition catalog, Poitiers 1993, cited in note 112. Painted in a style characteristic of 18th-century military portraits, the Duc de Richelieu is shown in armor, wearing a blue sash adorned with the symbol of the Order of the Holy Spirit. The background evokes the fortress of Port-Mahon, which Richelieu captured in 1756. The cartouche at the top of the frame indicates that this portrait was presented to the Marquis de Montillet in 1784. Godson of Louis XIV (1638-1715) and grand-nephew of the influential Cardinal de Richelieu (1585-1642), Louis-François-Armand de Vignerot du Plessis, Duc de Richelieu, was appointed Marshal of France, a high military distinction reserved for exceptional generals, in 1748. Notorious for his debauched lifestyle, he nonetheless established himself as a courageous and respected man of war, as shown in the present painting. This portrait is in the tradition of 18th-century military portraits. In a three-quarter view, the Duc de Richelieu is shown in armor, holding a sword in his left hand. A blue sash on his chest, embossed with the symbol of the Order of the Holy Spirit, reminds us that he received France's highest distinction in 1729. The decoration evokes the British fortress of Port-Mahon, taken by Richelieu in 1756. While the Marshal of France achieved many important military successes, this particular event, a major battle in the Seven Years' War, remains without doubt his most striking victory. It was therefore obvious for the artist to depict Richelieu in a setting reminiscent of this specific fortress, a symbol of his military prowess and political importance. Beyond the military aspect, this portrait conveys a certain sense of compassion and clemency. An eternal lover of women - he married his fourth wife at the age of 84 - his many antics and duels earned him imprisonment in the Bastille. Fortunately, he escaped fourteen months later, thanks to the help of his loyal and influential friend Madame de Maintenon (1635-1719). His association with the royal circle, as well as his notable friendship with the French philosopher and writer Voltaire, made him one of the most striking and attractive figures of the Age of Enlightenment. According to the plaque at the top of the frame, this portrait was presented to Louis-Honoré de Montillet in 1784. Louis-Honoré, Marquis de Montillet, was born in 1733 into the Montillet family, who built the Château de Champdor in the Bugey region of eastern France in the 18th century. The portrait shown here is very similar to an oil painting described as simply from the 18th-century French school, held at the Musée de l'Armée, Invalides, Paris. There is also a pastel portrait of Marshal de Richelieu by Jean Valade (1710-1787) (oval, 85 x 65 cm), whose current location is unknown.

Estim. 400 - 500 GBP

BOSSE (Abraham). Collection of 2 works, bound in a small in-8 volume, glazed fawn calf, smooth spine cloisonné and decorated with gilded motifs with garnet-red title-piece, triple gilded fillet framing the covers with corner finials, filleted edges, inner gilded roulette, edges speckled with red; upper headband damaged, corners worn (binding circa 1700). One of France's most illustrious engravers, Abraham Bosse (c. 1604-1676), was the son of a German tailor who immigrated to Tours. Also a mathematician and geometer, he published personal works on geometry and the art of engraving, including several based on treatises by the architect and engineer Girard Desargues on perspective, sundials and stereotomy. Reunion of his two major books on perspective, one theoretical and the other practical. -Maniere universelle de MrDesargues, pour pratiquer la perspective par petit-pied, comme le geometral. Ensemble les places et proportions des fortes & foibles touches, teintes ou couleurs. AParis, de l'imprimerie de Pierre Des-Hayes. 1647 [on title-frontispieces] and 1648 [on printed title]. Small in-8, 352pp. as follows: 16pp. unnumbered, pp.1to168, 8pp. (with 2columns per page, numbered 169to184), pp.169to176 (counting as 185to192), pp.193to312, 8pp. unnumbered (counting as 313to320), pp.321to342, 2pp. unnumbered. First edition. Important copper-engraved illustration by Abraham Bosse. Off-text: title-frontispiece, portrait of Michel Larcher, and 81ff. of mostly double-sided plates (bearing a second frontispiece and 156 numbered stamped compositions, 2 of which are repeated). One of the plate leaves has been folded by the binder and attached to the outer margin of a text leaf. In the text, 2 vignettes: a dedication to Michel Larcher, illustrated with his coat of arms, and a numerical demonstration accompanying composition no. 156 (Abraham Bosse, savant graveur, Maxime Préaud and Sophie Join-Lambert dir., Paris, BnF, et Tours, musée des Beaux-Arts, pp.61-62, 244-251 et325; Berlin, no. 4716; Fowler, no. 56). A great scientific and artistic treatise. Using a rational Cartesian pedagogy, Abraham Bosse expounds and extends the theories of Girard Desargues: he deals with perspective applied to the drawing of figures and their shadows, then applied to variations in hue and color according to the distance of the objects represented, and adds to this theoretical complements including the treatise that Girard Desargues himself had published in 1636. He suggests the conformity of geometrical and perspectival drawing: "geometrical drawing" means drawing the orthogonal projection of an object on a horizontal or vertical plane, enabling builders or craftsmen to read dimensions and carry out fabrication or construction. To practice "le perspectif" (the leterme of "petit pied" means a reduced scale) is to draw an object seen from a certain point at a given distance, which falls within the liberal arts, and is the prerogative of the architect. By suggesting this conformity of the "geometrical" and the "perspectival", Abraham Bosse overturns traditional hierarchies and "gives the handicraftsmen their letters of nobility. If we add to this the aggregation of engraving and painting in what [he] calls the art of portraiture, there can be no doubt that he attempted an intellectual and social liberalization of the art of engraving" (Abraham Bosse, savant graveur, op.cit., p.244). This Manière universelle earned Abraham Bosse admission to the Royal Academy of Painting and Sculpture, where he was called upon to teach the practice of perspective, and was widely distributed in Europe: it was translated into Dutch, and inspired the first major English treatise on perspective, published in 1719 by the mathematician Brook Taylor. A teacher of Blaise Pascal and esteemed scholar of René Descartes, the architect and geometer Girard Desargues (1591-c. 1661) frequented Père Mersenne's circle and was a friend of Abraham Bosse. He is considered the founder of projective geometry, and one of the inventors of the geometric coordinate system (which, however, was given the less legitimate name of Descartes). He published four treatises, including one on perspective in 1636, a veritable Bible for Abraham Bosse, who was among those who did most to spread his ideas. Although overshadowed by Descartes and Pascal, Girard Desargues' work was rediscovered in the following century by Gaspard Monge, and developed in the 19th century by mathematicians Jean-Victor Poncelet and Charles-Julien Brianchon.

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