Those Amazing Animals Burgess Meredith and Jim Stafford signed photo
Those Amazi…

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Those Amazing Animals Burgess Meredith and Jim Stafford signed photo Those Amazing Animals signed photo autographed by Burgess Meredith and Jim Stafford. 8x10 inches

180 .HL18035

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Those Amazing Animals Burgess Meredith and Jim Stafford signed photo Those Amazing Animals signed photo autographed by Burgess Meredith and Jim Stafford. 8x10 inches

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Estim. 1 600 - 1 800 USD

GIOVIO (Paolo). Dialogue des devises d'armes et d'amours, du S. Paulo Iovio, avec un discours de M. Loys Dominique sur le mesme subiet. Translated from Italian by S. Vasquin Philieul. Auquel avons adjousté les Devises héroïques & morales du seigneur Gabriel Syméon. Lyon, Guillaume Rouillé, 1561. In-4, 255 pp, [4] ff, one blank f., text printed entirely in italic type, with publisher's vignette to title, portrait of the author engraved in a medallion on verso of title and 137 half-page woodcuts of emblems, by the "Master with a cape". Havana morocco, ornate ribbed spine, triple gilt fillet on covers, double gilt fillet on edges, gilt edges on jasper, broad framing on inside covers (Hardy). Brown stains on boards. First French edition. The motto book by the Italian humanist Giovio forms an adaptation of the Ragionamento sopra i motti e disegni d'arme e d'amore, (Venice, 1560). It was compiled by the Carpentrasian canon and judge Vasquin Philieul (1522-1582), known for being the first to publish a complete French translation of Petrarch's work. The work also contains Louis Dominique's Discours sur les devises militaires et d'amour (pp. 157-212) and the Devises, ou emblèmes heroïques et morales by Florentine humanist Gabriele Simeoni (pp. 213-251), which have their own title page with the author's emblem and motto engraved on the reverse. The emblems are set in eight different frames, richly decorated with interlacing, astronomical signs, fabulous animals, arabesques and grotesques, directly inspired by those used by Jean de Tournes for his Métamorphoses d'Ovide in 1557 (Baudrier IX, 277-278). Bookplate of Constantin N. Radoulesco [Radulescu]. A fine copy.

Estim. 9 000 - 10 000 USD

CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008). "Horse S/T", 1997. Cast iron. Unique piece. Attached certificate issued by Margarita Yarmats, last sentimental companion of the sculptor. Signed on the base. Measurements: 33 x 30 x 13,5 cm. The equine theme was predominant in the singular work of Carlos Mata. The basic forms to which this sculpture subsumes (it should be noted that this is a unique work, with no other examples) are rooted in the ancient Mediterranean civilizations, in the cradle of our culture. Iron, in his hands, is endowed with an extemporaneous patina, archaic and avant-garde at the same time. In his sculptures, Mata was always faithful to this reduction of objects to their essence and of silhouettes to pure lines. It is precisely this purity that makes the warmth of the iron texture shine even brighter, competing in prominence with the shape of the piece itself. Mata opted for bronze or iron to reflect the warmth of manual labor, with its arid and irregular, rough surfaces, inviting to touch, and also with its fluid, soft, rounded crevices. Sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. Among his most recent exhibitions are those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylizations of a certain primitivism and archaeological evocation, generally taking as a theme animals, such as bulls or horses. The same schematic intention can be seen in his painting, of a neo-figurative, planist type, with a contained and reduced chromatic range. In 2008, as a posthumous tribute, an important anthology of his work was held at Haras du Pin, in Normandy, France. It was a retrospective consisting of 35 bronze horses, in addition to his jewelry collection.

Estim. 4 000 - 5 000 USD

Valladolid School of the 16th century. "Virgin and Saint Anne". Relief in polychrome and gilded wood. Measurements: 84 x 35 x 2 cm. Relief in carved and polychrome wood, with gilded details that enrich and clarify the composition. Rectangular in format, this is a clearly Italianate work in which the Virgin and her mother are represented. Both women are shown in the foreground, expressing their affliction and foreboding through a shared silence. Mary's lowered gaze, Saint Anne holding her hands and the grief reflected in her features speak for themselves. Spain was, at the beginning of the 16th century, the European nation best prepared to receive the new humanist concepts of life and art because of its spiritual, political and economic conditions, although from the point of view of plastic forms, its adaptation of those introduced by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this desire to return to the classical Greco-Roman world, which in its nudes exalts the individuality of man, creating a new style whose vitality surpasses mere copying. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintained expressivity as a vehicle for the profound spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favours the continuity of religious sculpture in polychrome wood, which accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Estim. 6 000 - 7 000 USD

Valladolid School of the XVI century. "St. Peter and St. Paul. Pair of reliefs in carved wood. Measurements: 106 x 34 cm (each one). Both relief plaques, from an altarpiece, represent St. Peter and St. Paul in two niches with scallops. Spain is, at the beginning of the 16th century, the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of the plastic forms, its adaptation of those implanted by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this eagerness to return to the classical Greco-Roman world that exalts in its nudes the individuality of man, creating a new style whose vitality surpasses the mere copy. Soon the anatomy, the movement of the figures, the compositions with a sense of perspective and balance, the naturalistic play of the folds, the classical attitudes of the figures began to be valued; but the strong Gothic tradition maintains the expressiveness as a vehicle of the deep spiritualistic sense that informs our best Renaissance sculptures. This strong and healthy tradition favors the continuity of religious sculpture in polychrome wood that accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the first years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first hand the new norms in the most progressive centers of Italian art, whether in Florence or Rome, and even in Naples. Upon their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionized Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualized and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

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