Null CHASSENEUX Barthélemy de (1480-1541). Catalogus gloriae mundi . Quibus omni…

Description

CHASSENEUX Barthélemy de (1480-1541). Catalogus gloriae mundi . quibus omnis humanae gloriae summa breuiter, artificioseque continentur. Venice: Valgrisi, 1576. Scarce edition, first published in 1529, of this detailed work on the rights and duties of monarchs. 4to, (300 x 205 mm). Printer's device to title-page, illustrations in the text, engraved initials (old stamp and signature removed from title-page, ff. 2i-2i2 with repaired tears to inner margin without loss of text, light foxing and small wormholes to last two leaves). Contemporary vellum, manuscript title to spine (wormtracks to joints). (1)

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CHASSENEUX Barthélemy de (1480-1541). Catalogus gloriae mundi . quibus omnis humanae gloriae summa breuiter, artificioseque continentur. Venice: Valgrisi, 1576. Scarce edition, first published in 1529, of this detailed work on the rights and duties of monarchs. 4to, (300 x 205 mm). Printer's device to title-page, illustrations in the text, engraved initials (old stamp and signature removed from title-page, ff. 2i-2i2 with repaired tears to inner margin without loss of text, light foxing and small wormholes to last two leaves). Contemporary vellum, manuscript title to spine (wormtracks to joints). (1)

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Estim. 250 - 600 EUR

FAUJAS de SAINT-FOND (Barthélémy): Description des expériences de la machine aérostatique de MM. de Montgolfier, Et de celles auxquelles cette découverte a donné lieu [...]. Paris, Cuchet, 1783. One volume. 11.5 by 19 cm. Frontispiece-XL-299-(3) pages and a folding table and 8 engravings (from 1 to 9, except 5, placed in frontispiece, as often). Complete. Contemporary full marbled basane, 5-rib spine, ornate caissons, ochre title page. Minor spotting, otherwise very good condition. Some foxing, light wetness in lower margin on first and last leaves. One dusty page at end of volume. First edition of the first work to describe the first aeronautical experiment... A second volume, following this one and recounting the experiment held at the Château de la Muette, was published in 1784.

Estim. 120 - 300 EUR

A collection of three works on gastronomy: URBAIN-DUBOIS: La cuisine d'aujourd'hui. 220 drawings, including 40 engraved plates. Service des déjeuners, plus de 300 manières de préparer les oeufs, Service des dîners. Twelfth edition, carefully corrected, with numerous additions. Paris, Flammarion, s.d (Circa 1920). One volume. 17.5 by 24 cm. (8)-800-XXVI pages. Publisher's full red percaline, cold decorated boards. Excellent condition, except for a slightly creased spine. Numerous illustrations in the text, some full-page. With [BARTHELEMY et DISTEL]: La Cuisine et la pâtisserie expliquées du Cordon bleu. Work divided into two parts: the first is a study of the fundamental basics of cooking and pastry-making, food substances and all culinary operations involving the preparation of dishes; the second is a complete collection of recipes for cooking, pastry-making, confectionery, ice-creams, jams, syrups, etc., methodically classified according to the rule of menus; plus a nomenclature of menus for each month of the year. Paris, Bibl. du Journal "Le Cordon-Bleu", (circa 1910). One volume. 17.5 by 26.5 cm. 742-(2)-XVI pages. Vintage carmine half-basane. Rubbing to binding, very good condition inside. Numerous illustrations in the text. With CORDON BLEU. Collection of issues from 536 to 595 (October 1, 1906 to March 15, 1909). Our collection includes the following issues: 536; 549; 551; 552; 553; 557; 559; 560; 563; 565; 589; 575; 583; 595. Numerous illustrations in the text, various advertisements. Full contemporary cloth. Copy in very good condition (one stain on two pages).

Estim. 200 - 250 EUR

Compagnonnage. Silver medal with chain (49 g), finely worked on both sides. The main face features the blacksmiths' emblem and the date of creation 01.07.1821. The rim is engraved "la Société de l'Enclume et du Marteau à son Commissaire Général", "dédiée au Frère Barthélémy par la Société reconnaissante, Octobre 1824". The reverse features a woman holding an olive branch in one hand and a pelican (?) in the other, and the inscription "Puisse ce gage de notre reconnaissance perpétuer le souvenir de son zèle" ("May this token of our gratitude perpetuate the memory of his zeal"). 6.7 x 4.7 cm. Attached is a booklet containing the history and by-laws of the "Enclume et le Marteau" mutual aid and retirement society, 114 pages, from 1892.

Estim. 2 000 - 2 500 EUR

Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Re-drawn at the end of the 18th century. Size: 111 x 85 cm; 120 x 93 cm (frame). The wake of the Marian painting of Zurbarán is manifested in this work of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and to his character of Redeemer. The monumental canon of the Virgin and child, their sculptural presence, has been achieved through subtle light modelling. The melancholic tenderness of the faces and the way in which the figures emerge emphatically from a misty background reveal the influence of Zurbarán. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter.

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