Null [Justinian Code], PEREZ (Antonio) : Ant. Perezi J.C. S.C. & R. Majestatis C…

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[Justinian Code], PEREZ (Antonio) : Ant. Perezi J.C. S.C. & R. Majestatis Conciliarii, Praelectionum in Duodecim Libros Codicis Justiniani imp. Amsterdam, Daniel Elzevir, 1671. Two parts in one large volume in 4°, bound in full ivory vellum, boards stamped. (16) 694 and 665 (59) pages. Joints on first cover split. Antonio Perez (1583-1672) was a professor at the University of Louvain in Belgium and advisor to the King of Spain. His comments on Justinian are interesting, as he brings his own views on legal developments in Spain, Germany, France and the Netherlands.

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[Justinian Code], PEREZ (Antonio) : Ant. Perezi J.C. S.C. & R. Majestatis Conciliarii, Praelectionum in Duodecim Libros Codicis Justiniani imp. Amsterdam, Daniel Elzevir, 1671. Two parts in one large volume in 4°, bound in full ivory vellum, boards stamped. (16) 694 and 665 (59) pages. Joints on first cover split. Antonio Perez (1583-1672) was a professor at the University of Louvain in Belgium and advisor to the King of Spain. His comments on Justinian are interesting, as he brings his own views on legal developments in Spain, Germany, France and the Netherlands.

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Estim. 150 - 200 EUR

SPELTA (Antonio Maria). La Sage-Folie, Fontaine d'allégresse, Mère des plaisirs, Reyne des belles humeurs ; pour la deffense des personnes joviales, à la confusion des Archisages & Protomaistres [...] Traduitte en François de l'Italien d'Anthoine Marie Spelte, Historiographe du Roy d'Espagne, par L. GARON. Rouen, Jacques Cailloué, 1635. 2 parts in one vol. in-12 of [8] ff. 192-[12] pp. ; [4] ff. pp. 181-587 (with separate title: "La Delectacle Folie, support des capricieux, soulas des fantasques, nourriture des Bigearres ; pour l'utilité des cerveaux foibles, & retenuë des boutadeux [...] seconde partie"). Brown morocco, ornate spine ribbed, gilt title, date on tail, triple gilt fillet framing covers, int. lace, gilt edges (Chipot). Small wormholes on last pages. New edition of L. Garon's translation (first published in 1628) of this work by the Italian writer and historian Antonio Maria Spelta (1559-1632). A book of facetious morals, the original edition of which appeared in Italian in Pavia in 1604, under the title La Saggia Pazzia. Engraved title vignette on first title. A very fine copy. (Brunet V, 485.) Ex-libris Bibliothèque du Dr. Ant. Danyau. Bookplate JM.

Estim. 1 800 - 2 000 EUR

ANTONIO ROJAS (Tarifa, 1962). "Approach", 2019. Acrylic on canvas. Enclosed certificate at the buyer's request. Work reproduced in; "Punto de Mira, Antonio Rojas". Ed. Port Authority of Santander p.35. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 48,5 x 170 cm. Antonio rojas lives in Madrid, although his native land is very present in most of his works. This warm memory is united with an aesthetic of character, colder and more rigorous based on geometry, lines and planes. The coexistence of these two factors relates his work to the new "metaphysical painting". Among the devotions of Antonio Rojas are key names in painting such as Guillermo Pérez Villalta, Chema Cobo and Carlos Alcolea, artists who initially influenced him with their different attitudes. Also artists as essential as Giotto, Piero della Francesca or Fra Angelico as well as Cezànne and De Chirico. In the artist's own words, "I am interested in geometry insofar as it is useful to me for structuring and organising. ...For me the contours of empty, monochromatic surfaces are important, only altered by the stamping of a systematic sea... As for the composition of the images "I am not interested in the use of any particular rule to distribute and provide spaces..., intuition is for me the best formula". Attentive to the creation of empty spaces, places in shadow, "the nearby walls, furniture, windows... All these smooth surfaces, velvety with the reflection of the colours of distant objects, always full of air, shadow and light, are important to me". He had his first individual exhibition with Magda Bellotti in Algeciras (1983 and 1986), a gallery to which he was a regular during the subsequent development of his entire career. In Madrid he began to exhibit in the Fernando Vijandre gallery in 1987, in Manolo Montenegro's gallery (1988), with Antonio Machón (in 1990 until 2000) and with My name's Lolita Art (Valencia, 1996, and Madrid, 2002). In 1994 he was selected for the exhibition "Muelle de Levante". In 1991 he took part in the collective exhibition "El Retorno del Hijo Prodigo" at the Buades Gallery in Madrid and was awarded the Endesa Scholarship. He also obtained residencies at the Delfina Studios in London and at the Academy of Fine Arts in Rome between 1993-94 and in 2004 he won first prize at the VI Biennial of Painting "City of Estella Lizarra".

Estim. 600 - 700 EUR

ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "The priests of April", 1960-1972. Lithograph on paper. Copy 7/50. Publisher: Grupo 15, 1972 and made by Dimitri Papagueorguiu as part of the Boj collection, 1960. Slight discoloration of the paper on the outer perimeter and damage to the frame. Signed and justified in pencil. Measurements: 58 x 41 cm; 87 x 67 cm (frame). The series of the Cures of April was a project that Saura initiated together with the writer Antonio Perez in 1960. Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual exhibition at the Libros bookstore in Zaragoza, showing a series of experimental works ("Constelaciones" and "Rayogramas"), created during the long illness that kept him immobilized since 1943 for a period of five years. In 1952 he held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. That same year he visited Paris for the first time, settling in the city. There, his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to the creation of paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the misleading between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining the Grand Prize. The following year he settled in Paris, although he worked and spent every summer in Cuenca, a fundamental pillar of his production since his early years. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London. Slight discoloration of the paper on the outer perimeter and damage to the frame.

Estim. 600 - 700 EUR

ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "The priests of April", 1960-1972. Lithograph on paper. Copy 17/50. Publisher: Grupo 15, 1972 and made by Dimitri Papagueorguiu as part of the Boj collection, 1960. It has restorations in the middle left area, slight discoloration of the paper in the corners and damage to the frame. Signed and justified in pencil. Measurements: 58 x 41 cm; 87 x 67 cm (frame). The series of the Cures of April was a project that Saura initiated together with the writer Antonio Perez in 1960. Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual exhibition at the Libros bookstore in Zaragoza, showing a series of experimental works ("Constelaciones" and "Rayogramas"), created during the long illness that kept him immobilized since 1943 for a period of five years. In 1952 he held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. That same year he visited Paris for the first time, settling in the city. There his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to making paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the misleading between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining the Grand Prize. The following year he settled in Paris, although he worked and spent every summer in Cuenca, a fundamental pillar of his production since his early years. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London. It has restorations in the middle left area, slight discoloration of the paper in the corners and damage to the frame.

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