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[THYSBAERT (Jan Frans)]. Elementa opticae et perspectivae. Louvain, e typographia academica, 1775. In-8 half-brown basane with small corners, threaded spine (post. binding). Heads and spines worn. [2] ff. 199 pp. 14 folding plates. Ink stains on 2 plates.

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[THYSBAERT (Jan Frans)]. Elementa opticae et perspectivae. Louvain, e typographia academica, 1775. In-8 half-brown basane with small corners, threaded spine (post. binding). Heads and spines worn. [2] ff. 199 pp. 14 folding plates. Ink stains on 2 plates.

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Starting price  100 EUR

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Lot of 20 studies on Balzac: Barbéris, Mythes balzaciens. Paris, Colin, 1972. Chul Lee, Les scènes de la vie de campagne d'Honoré de Balzac. ANRT diffusion, 1995. Noahisa Usa, La Madone dans l'oeuvre d'Honoré de Balzac. ANRT Diffusion, 1996. Baron, Balzac occulte. L'âge d'homme, 2012. With dispatch from the author. Boussel, Les restaurants dans la comédie humaine. La Tournelle, 1950. Gillot, Balzac d'après sa correspondance avec l'Etrangère. Grenoble, Aubert, 1924. Houssa, Balzac and Colette. Extract from Revue d'histoire littéraire de la France, 1960. La Rabouilleuse with a preface by Bouteron. Boivin, sd. Gadenne, Trois préfaces à Balzac. Le temps qu'il fait, 1992. On fine paper. Didi-Huberman, La peinture incarnée followed by Le chef-d'oeuvre inconnu. Editions de Minuit, 1985. Kempf, Balzac Baudelaire Barbey d'aurevilly - sur le dandysme. Collection 10/18 Honoré de Balzac - A Paris. Editions complexe, 1993. Preface by Caillois. Barthes, S/Z. Editions du Seuil. Savant, Le vrai Vidocq. Hachette, 1957. Le Père Goriot, text and contexts. Magnard, 1986. Brunetière, Honoré de Balzac. Sd (Nelson editions). Bozzi, Balzac et les médecins dans la Comédie humaine. 1932. Yücel, Figures and messages in La Comédie humaine. 1972. Vacarie, La vertueuse faillite de César Birotteau. 1928. Honoré de Balzac, literary criticism. 1912. Lot of 7 books: Balzac en sa Touraine. CLD Normand & Cie, 1975. Unique edition of 1,200 numbered copies, full publisher's cloth, dust jacket. René Guise, Balzac - 1 la société. Hatier, 1972. René Guise, Balzac - 2 l'individu. Hatier, 1973. Balzac, Une ténébreuse affaire. Presses pocket, 1993. Commentary by Gérard Gengembre. Balzac, monographie de la presse parisienne. Paris, Pauvert, 1965. Jean Forest, Des femmes de Balzac. Universités de Montréal et Sherbrooke, 1984. Honoré de Balzac, mémoire de la critique. Paris-Sorbonne, 1999. Prefaces and notes by Stéphane Vachon. Lot of 12 books: G Jacques, "Le doigt de Dieu" by Honoré de Balzac. Louvain, 1970. L Frary, Selon Balzac. Paris, Nilsson, sd [imp. Arrault à Tours]. Half-percaline. Kurt Sulger, La cousine Bette, essay on Honoré de Balzac. Zurich, Ruegg, 1940. Franco Simone, Un romanzo esemplare di Balzac: Les Paysans. Firenze, Olschki, 1956. N Bourgeois, Balzac peintre d'histoire et écrivain regionaliste. Paris, Bloud & Gay, 1925. P Louis, Les types sociaux chez Balzac et Zola. Paris, éditeurs associés, 1925. P Abraham, Créatures chez Balzac. Paris, NRF Gallimard, 1931. Ex press service. Notes on Le Père Goriot. Longman York Press, 1984. G Gengembre, Honoré de Balzac, Le Lys dans la vallée. PUF, 1994. E Deschanel, Le mal qu'on a dit des femmes. Paris, Levy, 1858. Half-percaline. Prophetic, picturesque and useful almanac (for 1842?). Copy incomplete of the first leaf. Contains "Balzac et la chiromancie" by Adolphe Desbarrolles. L'épée et la plume, exhibition at Château de Saché in 2004. Lot of 7 volumes: Balzac, Journaux à la mec. Introduction, notes and commentary by Louis Jaffard. Around Balzac's unknown masterpiece. Ecole nationale supérieure des arts décoratifs, 1985. Le Balzac de Rodin. Catalog of the Saché exhibition, 1999. Littérature et société, collection of studies in honor of Bernard Guyon. DDB, 1973. 6 studies on Balzac. Marc Blanchard, La campagne et ses habitants dans l'oeuvre de Balzac. Paris, Champion, 1931. Doctoral thesis. Envoi de l'auteur à "Miss Hollingworth". Histoire véritable de la bossue courageuse [Francis Lacassin]. Ecrits sur le roman, anthology.

Baroque still life after Martinus Nellius The 17th century brought the Netherlands unexpected economic and cultural prosperity. Thanks to favourable conditions, the 17th century brought the Netherlands an unprecedented economic and cultural boom - it went down in history as the so-called "Golden Age of the Netherlands", a prosperous economy brought the young republic widespread prosperity and abundance, and artistic production in particular took on unprecedented proportions, with over 300 painters and graphic artists working in Antwerp at one point alongside 78 butchers and 169 bakers, The new self-image of the wealthy Protestant bourgeoisie demanded new pictorial themes that were able to represent the wealth and lifestyle of this broad class, resulting in magnificent table still lifes that displayed valuable tableware, exotic animals and fruit alongside an abundance of fine foods, among other subjects, Today's famous masters such as Frans Snyders, Willem Kalf, Abraham van Beijeren, Cornelis de Heem and Willem Claeszoon Heda competed for the public's favour; the present motif probably originates from the circle of Martinus Nellius (1621-1716), who artfully layered his arrangements in front of the viewer's eyes against a dark background; next to the central - almost obligatory - forest glass roaster with a berry stem, there is a lobster, oysters, grapes, a bowl of cherries, figs, pomegranates, peaches and skilfully peeled lemons. Some of the objects depicted can also be found in Nellius's secured works, for example the bowl of cherries with other fillings can be found in various paintings by the artist, but the most characteristic feature is the lemon peel hanging out of the wine glass, which the painter usually depicts as here or with an attached lemon in the centre. placed in the Roman with an attached lemon, effective baroque still life painting, oil on coarse canvas, 17th century, indistinctly monogrammed probably "F. v. E. SA. f." lower left on the table edge, old owner's label of the von Nell family "H. v. N. Perl." on the stretcher verso, craquelure, old relining and restoration, somewhat in need of restoration, provenance according to previous owner: Palais von Nell in Perl/Saarland, framed in old moulding in second use, rebate dimensions approx. 90 x 81.5 cm.

Ludwig Adam Kunz, Table Still Life opulent arrangement of a hare, carp, lobster and oysters next to a bouquet of peonies in a silver Historicist vase, an etagere with fruit and melons and a white cockatoo on a flowerpot, Bruckmann "Münchner Maler des 19./20. Jh." notes: "... he attempted to succeed Frans Snyder, Jan Fyt or Jan Brueghel the Elder. His works have an old-masterly colouring, the objects are brought out of deep darkness in brilliant, rich colours by a warm, luminous incident light. In terms of subject matter, Kunz mainly focussed on still lifes of flowers and fruit, which he occasionally enlivened with animals - in particular a monkey or a parrot. He was also a master in the depiction of precious objects such as old wine glasses or ivory and silver tankards. ...", glazed, partially slightly impasto painting, oil on wood panel, signed and dated "L. Adam Kunz 1911" top right, old handwritten label on the reverse "Adam Ludw. Ad. Kunz - Vienna 1857-1929 Munich "Prunkstilleben" Wood 35.5 x 57 cm, a. Tellerrand bez. 1911", in need of minor restoration, originally framed in a gilt stucco frame, rebate dimensions approx. 35.5 x 57 cm. Artist information: actually Ludwig Adam Kunz, German-Austrian painterAustrian painter (1857 Vienna - 1929 Munich-Maria Einsiedel), regarded as the "Lenbach of still life painting", initially studied sculpture under Victor Oskar Tilgner, 1873-75 studied sculpture at the Vienna Academy, 1875 turned to painting and until 1878 pupil of the genre painter Josef Fux in Vienna, from 1878 further training in Munich with Franz von Lenbach and Friedrich August von Kaulbach, influenced by the painting of Peter Paul Rubens and Hans Makart, 1885-96 stay in Paris and supported by Mihály von Munkácsy, from 1896 Kunz lived in the Asam-Schlössl in the Munich district of Thalkirchen-Maria Einsiedel, Appointed professor at the Munich Academy in 1896, member of the Munich Artists' Association, exhibited at the Vienna, Dresden and Berlin art exhibitions, the Madrid Columbus Exhibition in 1892 and the Munich Glass Palace from 1917-27, received various honours such as the Great Golden Medal at the International Art Exhibition in Munich in 1897, on friendly terms with Lenbach, both artists sometimes created joint works in a division of labour, like their artistic role models Rubens and Brueghel, Lenbach painted the portraits and Kunz the framing garland of flowers, source: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20th century", Dressler, Fuchs, Paviere and Wikipedia.