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Imprint: Paris, Jodocus Badius Ascensius, 1532.
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Sm. 4to. (8 1/8 x 5 8/16 inches), recently bound in the antique style in full tobacco color goat with triple blind ruled borders surrounding a narrow scroll border, which is bordered by a pair of blind fillets; plain spine with blind-blocked horizontal bands. A large copy with a few underlinings, a touch of occasional spotting, including a small black ink spot on the title; the last four leaves of the b signature roughly opened along part of the extreme bottom margin; otherwise a very attractive copy of an uncommon edition.Cicero's stoic maxims, dedicated to Brutus, with commentary by Franciscus Sylvanus are here applied to everyday life. Not only Rome's greatest orator, Cicero was perhaps its most articulate philosopher, and through his philosophical treatises he helped make Latin a strong, yet surprisingly flexible, vehicle for logical speculation.This edition was printed by Josse Bade (1462-1535), a Fleming who moved to Paris and Latinized his name to Jodocus Badius Ascensius. He is the first of three great French printer-scholars (the other two are Henri Estienne and Geoffroy Tory), who were enamored of humanism and worked to spread abroad the works of classical authors. Led by Bade, they each resolutely broke with French gothic tradition, and employed for their publications the beautiful roman types created by Janson and Aldus Manutius. Moreau locates copies in the British Library, the Bibliotheque National, the Laurentian Library (Florence) and in the Folger. Not in Adams. No copy located on OCLC First Search.
WOODCUT OF THE PRINTER'S SHOP ON THE TITLE-PAGE
Stock number:577.
$US 1750.00
Imprint: London, Printed for W. Wright, 1822
Binding: Hardback
8vo. (8 3/4 x 5 1/2 inches), three quarter acid calf over marbled sides; spine with four raised bands, green title label; t.e.g., other edges untrimmed. FINE.The author, a Gentleman or His Majesty's Chapels Royal, relied upon original material from Sion College as well as the records of the Merchant Tailor's Company and the manuscript check book in His Majesty's Chapel in compiling voluminous record of this instantly recognizable melody. The plates include a number of excellent portraits along with the music; the book opens with an eight page List if Subscribers headed by George the Fourth (6 copies).
38 ENGRAVINGS INCLUDING THE MUSIC—FINELY BOUND
Stock number:644.
$US 495.00
Imprint: London, R. Ackermann, 1815-1816 & 1817
Edition: First Edition
Binding: Hardback
Three vols. Lg. 8vo. (9 3/4x 6 1/4 inches), in the publisher’s remainder binding of orange vertical ribbed cloth, with blind blocked decoration on the covers and gilt decoration (featuring a large femur and a country Church graveyard on the Dance of Death volumes, and dancing figures on “Life”). Top edges gilt, other edges untrimmed. In very nice condition with a just a minimum of handling wear. With binder’s ticket of Remnant & Edmonds in two of the volumes; and the oval, embossed bookplate of: F. R. Atkinson Pendleton, Oak House.36 hand-colored aquatints by Thomas Rowlandson in each volume of the Dance of Death, and 24 in the Dance of Life, plus engraved, hand-colored titles and frontispieces for each title. Abbey states that the Dance of Death was issued in 24 serialized parts from April 1814 until March 1816; this is the FIRST EDITION in book form.Rowlandson's contribution to the Dance of Death genre is notable and is nicely summarized by Aldred Warthin; "The work consisted of seventy-four full-page color prints, with a poem by William Combe. Rowlandson's clever and humorous spirit found a congenial field in the depiction of these subjects. Many of his plates are highly original and curious, and extremely interesting as revealing the morals and manners of the English people in the early nineteenth century. They are all intended to convey a powerful moral lesson..."This is a brilliantly hand colored copy, with occasional minor offsetting onto the facing text pages and no foxing, typical problems that turn up in sets that have been rebound and which were put into presses during the process. It is also the largest possible copy, taller (by three-quarters of an inch) and wider (by three-eights of an inch) than the average rebound set that appears at auction. VERY NICE.Warthin, A. The Physician of the Dance of Death. NY, 1931. pp. 93-98. Abbey/Life 263 & 264. Tooley 410 & 411. Douce. pp. 199-200. Susan Minns Collection 524.
A BEAUTIFULLY COLORED COPY IN THE PUBLISHER’S CLOTH
Stock number:608.
$US 3950.00
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Imprint: London, R. Ackermann, V.d. [1812, 1820 & [1821]
Edition: First Edition
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Three vols. 8vo. (9 x 5 1/2 inches), full burgundy chagrin morocco with double gilt fillet borders on the covers; spine with five raised bands and gilt titling within two of the six compartments, barely lightened; board edges gilt, inner gilt dentelles, a.e.g. Signed by Riviere & Son on the verso of the marbled free endleaf.First edition of all three volumes. The Tour is the second issue with the text beginning with “Canto I” not “Chapter I, and with the second state of Pl. 5 with the girl’s right arm bent not straight. First issue of The Second Tour with the title to Pl. 15 in the uncorrected state: “Skimerton” not “Skimmington.” Some typical light offsetting from plates to text, a clean tear in plate two, “Dr. Syntax Soliloquising,” in The Third Tour, expertly repaired; otherwise a very nice copy.Combe's first Dr. Syntax book and its successors, The Second Tour of Dr. Syntax ,In Search of Consolation , and The Third Tour…in Search of a Wife , satirize the many 18th and early 19th century writers whose 'Tours', 'Travels', and 'Journeys', were vehicles for sententious moralizing, uninspired raptures, and sentimental accounts of amorous adventures. The popularity of Combe's work owed much to the illustrations of Thomas Rowlandson. Combe and Rowlandson also collaborated on The English Dance of Death , which contains some of Combe's best verse.See: Abbey, Life, 266 and 267. Tooley 427, 428, and 429.
Nicely Bound Set with 78 Hand Colored Aquatints
Stock number:790.
$US 3500.00
Imprint: Philadelphia, J. Clarke, Printer, 1829
Binding: Hardback
8vo., full tan sheep with plain sides; spine with a black morocco label and gilt decoration. Light occasional foxing. First American edition, reprinted from the last London edition. The frontispiece, a Rowlandsonesque engraving, shows the good doctor astride his horse setting out in search of a wife. First published in England in 1821, this tour of the clergyman-schoolmaster was Combe's third Syntax parody of those popular books and picturesque travels of the day (and particularly those of William Gilpin). Scarce, thus.
FIRST AMERICAN EDITION
Stock number:765.
$US 150.00
Imprint: London, Printed for Randal Taylor, 1691 [but 1780]
Binding: Hardback
8vo., contemporary calf with plain sides; spine with five raised bands each surrounded by double gilt fillets and a morocco title label. All edges sprinkled red. An altogether UNSOPHISTICATED copy in WONDERFUL CONDITION..This is a reprint of the Randal Taylor’s 1691 edition with a false imprint. It was translated and abridged from the Latin translation of Prospero Intocetta, Philippe Couplet and others or from an intervening French translation attributed to Louis Cousin or Jean de la Brune.Confucius is thought to have lived from 551-479 B.C. and is considered to be a political and ethical philosopher and would-be reformer who, although he failed to achieve his personal ambitions and successes, taught a large circle of disciples who carried on, developed, and greatly altered his teachings. The result was that by the second century B.C. his ideas formed the dominant philosophy of China until the early twentieth century. The work here begins with a Preface, followed by chapters that deal with his ideas on Morals; it concludes with a section entitled, Maxims, of which there are LXXX. A difficult to find book on all accounts and UNCOMMON in such fine condition.
FINE COPY IN CONTEMPORARY CALF
Stock number:581.
$US 1500.00
Imprint: London, Longman, Hurst, Rees, Orme, Brown & Green, 1825
Binding: Hardback
Tall 4to. (13 x 9 1/4 inches), newly bound in period style quarter morocco over marbled sides with hidden morocco corners, red morocco title label on the spine; all edges marbled. Some light, widespread foxing but generally a clean attractive copy. For each of the twenty-five artists represented, Mr. Corner has produced an engraved portrait within a frame, after an existing painting or drawing. In the lower margin of each, he has reproduced a miniature of one of the artists' well known works, or a detail there from. The engravings are printed on India paper, which has been pasted onto to the page opposite a short biography of the artist. The list of artists includes many of the world's best known painters from Europe and the United Kingdom: Vandyck, Titian, Raphæl, Durer, Holbein, Caracci, and Sir Peter Lely to mention but a few. A VERY NICE COPy of an uncommon title.
A VERY TALL LARGE PAPER COPY
Stock number:727.
$US 750.00
Imprint: New York, Museum of Modern Art, 1957
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Oblong folio in blue paper wrappers with a two-color label on the upper cover; laid into a blue-paper-covered board folder with another label. A VERY FINE copy; just some sunning to the spine of the folder (which is generally found in disrepair or lacking altogether)One of 975 copies for sale SIGNED by Baskin at whose Gehenna Press it was printed for The Museum of Modern Art. The type is Perpetua and the six boxwood engravings and lone woodcut have been pulled on Italian and Japanese hand-made papers in a variety of colors.The book has been recognized for inclusion in The Artist & The Book 1860-1960 (No. 13), which mentions that it was honored as one of the "Fifty Books of the Year 1957" by the American Institute of Graphic Arts. In addition to commenting on the book's complexity Baskin says, "...its bizarries of sequence reveal far more about my struggles with typography & woodengraving than about Crane." See: The Gehenna Press. The Work of Fifty Years. No. 11.
"A terribly overcomplicated book..." Baskin
Stock number:635.
$US 575.00
Imprint: [Paris], 1742
Edition: First Edition
Binding: Hardback
Two vols. bound in one. 8vo., full crushed oasis niger with a double gilt fillet border on each cover; smooth spine with horizontal gilt bands, title in gilt in the second compartment; a.e.g. An ATTRACTIVE BOOK.First edition (there is a Dutch edition and an English edition of the same year). Nicely printed, with decorative headpieces and the title printed in black and red. Crébillon, son of the French (melo-?)dramatist of the same name, wrote novels and dialogues that reflect the moral laxity of his day. La Sopha, for example, tells the experiences of a man transformed by metempsychosis into a sofa, and the scandalous adventures that take place on it. His other works include L'Ecumoire (1733) and La Nuit et le moment (1755). He was like his father, one of the dramatic censors of the French government.A scarce book, with OCLC reporting five copies (Yale, Harvard, Princeton, U. of Pa. and Oxford).
A HANDSOME COPY OF A SCARCE BOOK
Stock number:586.
$US 695.00
Imprint: London, F. Waller, 1831
Binding: Hardback
Sm. folio (15 3/8 x 12 inches), full dark maroon roan, deeply impressed with an over all gothic cathedral design, featuring a large rose window above a vaulted arch, surrounded by rows of small arched windows; inside the arch on the upper cover is the gilt stamped title with the date M. DCCC. XXXI. (there is no date in the book, and the six U.S. copies reported to OCLC [LC, NYPL, Harvard, Yale, Duke and U. Texas] do not supply one). All edges gilt. Fine.The book contains a lithographic title-page with a tipped on small lithograph, followed by five full-page lithographs of the Church (exterior and interior) including details of carvings, plaques, etc., printed by Engelmann & Co., and by Engelmann, Graff & Condet. The plates are printed on card stock and are very nice; they followed by 33 pages of letterpress text about the Church and its history written by Joshua Frederick Denham, Curate of the Church.A check of public collections (such as the Henry Davis Gift at the British Library) and dealers catalogues (including those of Maggs Bros Ltd) supports our belief that this is ONE OF THE LARGEST CATHEDRAL BINDINGS EVERY MADE. It is unsigned and is in brilliant condition.
A VERY LARGE (AND FINE) CATHEDRAL BINDING
Stock number:527.
$US 2250.00
Imprint: London, Longman, Rees, Orme, Browne and Green, 1826
Binding: Hardback
8vo., publisher's plain reddish-brown cloth, spine repaired, with a gilt-stamped leather title label. Frontispiece engraving of the Lord Mayor of London (W. Venables) and his party's embarkation at Oxford by Henry Smith, marked "Proof." An earlier bookseller's description on the front pastedown says it all: "This serious absurdity was so much quizzed that the Lord Mayor induced his over-ernest chaplain to surpress it. A very severe review of the volume was written by Theo. Hook. The whole volume is filled with the grossest flattery and adulation: in one passagee he insinuates that the sun shone with unwonted splendour in honour of this his patron's visit to Oxford."Scarce. And an early cloth publisher's binding.
IN AN EARLY PUBLISHER'S CLOTH BINDING
Stock number:680.
$US 125.00
Imprint: Virginia City, M.T.: Montana Post Press, D.W. Tilton & Co., 1866
Edition: First Edition
Binding: Hardback
16mo. (6 ½ x 4 ¾ inches), half red morocco over marbled paper boards, t.e.g. 228 pp. Minor notes and underlining in pencil on title page; two printer’s corrections to page 41. Lacking ads at end. One of three variations of the first edition of the first book published in Montana, it is exceedingly rare and unusually fresh. The author, editor of the Virginia City Montana Presss, wrote this work to record the history of Montana vigilantes and to defend their efforts as not only necessary but proper. Vigilantism was a reaction to the lawlessness of the Montana mining camps, and the author participated in the campaign to impose order. Included is a description of the crimes, including murder and robbery, of Henry Plummer’s Road Agent Band which terrorized the area and motivated the rise of vigilante justice. Charles Dickens reportedly said, “This is the most interesting book I ever read in my life.” Adams Six Guns 596, Graff 1086; Howes D-345; Montana Imprints 2; Streeter sale IV:2221; Streeter Americana Beginnings 72.
Stock number:14000.1866.
$US 14000.00
Imprint: London, Kegan, Paul, Trench, Trübner, 1895
Edition: First Edition
Binding: Hardback
8vo. (7 x 5 inches) full green marbled calf sides with two spaced gilt fillets forming the borders; spine with five raised bands with elaborate gilt decoration within four compartments, the other two with red morocco labels on which the title information has been stamped in gilt. Board edges gilt, inner gilt dentelles; a.e.g. Original decorated cloth cover and spine bound in at the back. Stamped name of the bookseller, Charles Sessler—Philadelphia, on the front end leaf. A FINE EXAMPLE of marbling calf with acid (it is usually done on natural calf), and is the first copy we have seen in color.FIRST EDITION. The work follows the highly successful Ballad of Beau Brocade in which Dobson and Thomson collaborated. Henry Austin Dobson (1840-1921) was an accomplished writer of light verse, with a wide knowledge of the 18th century, which can be attested to by his biographies of some of its literary super stars. Hugh Thomson (1860-1920) is said by Gordon Ray (The Illustrator and the Book in England from 1790 to 1914) to have modeled his style of illustration after Randolph Caldecott's Old Christmas, "...but since Caldecott illustrated one other book in this manner and Thomson illustrated scores, the latter is properly regarded as the chef d'école." A nice example of the work of the two, in a very attractive and most unusual binding. See: Ray pp. 180-181.
IN AN UNUSUAL ONE-OF-A-KIND BINDING
Stock number:613.
$US 295.00
Imprint: London, W. Rogers, 1695
Edition: First Edition
Binding: Hardback
8vo., (8 x 6 inches). Full 18th century calf with plain sides; spine with five raised bands bordered with triple gilt fillets, later (?) title label. Spine professionally repaired with the original spine laid down. A small hole in the border of one leaf repaired; extreme lower corner of the engraved frontispiece mended. A VERY HANDSOME copy ELABORATELY RULED IN RED throughout.Charles Alphonse Du Fresnoy (1611-55), painter and poet is remembered for his Latin poem written in 1668. This FIRST EDITION is the translation by the English poet, John Dryden. There was another English translation by William Mason, published in 1783 with annotations by Sir Joshua Reynolds. A supplementary work by "another hand", viz; A Short Account of the Most Eminent Painters both Ancient and Modern, Continu'd down to the Present Times is cited on the title; that second title-page is elaborately flourished. once again.
ELABORATELY RULED IN RED THROUGHOUT
Stock number:615.
$US 1550.00
Imprint: Verone, Officina Bodoni, 1971
Edition: First Edition
Binding: Hardback
8vo., (9 x 6 1/4 inches), publisher's quarter pigskin spine over Fabriano paper sides; title in gilt on the spine and the emblem of the press in gilt on the cover. In a matching sliding case, which is slightly rubbed at the extremities. Copy No. 17 (of 140). Original Prospectus laid in.Dürer's Small Passion of 1511, considered by many to be his masterpiece of this genre, was published by Giovanni Mardersteig to celebrate the five hundredth anniversary of the artist’s birth. The woodcuts are here re-engraved by Leonardo Farina, master wood engraver. This Officina Bodoni publication follows the first edition of 1511, reprinting the original Latin verses by Fr. Benedictus Chelidonius (Benedikt Schwalbe), humanist and poet. Mardersteig simultaneously published editions in Italian and German, but here the reader is offered a literal translation IN ENGLISH by Robert Fitzgerald, himself a poet, so that one might have some idea of the poetic content of the Latin originals.The period 1508-1511 marks the height of Dürer's graphic work on religious subjects. In this edition, as in the original, the woodcuts face the Latin poems, which are thought to have been commissioned by the artist as a complement to them. A very handsome edition of Dürer’s Passion.Mardersteig 173 and 171 (Italian edition). Barr 86.
THE SMALL PASSION NEWLY CUT ON WOOD
Stock number:716.
$US 1450.00
Imprint: Paris, J. Hetzel, N.d. [ca. 1845]
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
8vo., publisher's diagonally grained blue cloth with an elaborate outer frame stamped in black, inside of which is another elaborate gilt-stamped oval frame (which incorporates part of the black border), inside of which is an oval-shaped picture of soup being served from a large copper pot. This scene has been PRINTED IN COLOR CHROMOLITHOGRAPHY and then pasted in place. The spine is heavily decorated in gilt and black; the rear cover is framed in a black-stamped border. All edges are gilt in a copper-rainbow foil, plain gray endpapers. The binding is signed in gilt (as part of the plaque) by the designer, A. Souze, the binder, LeNègre, and the publisher. A most original (Experimental?) binding combining a variety of techniques to achieve its effects. We have never run across such a combination before.This is one of the many popular children's stories by Dumas père, whose complete works fill 103 volumes in the Calmann-Lévy edition. It is handsomely decorated with numerous wood-engravings by Albert-d'Arnoux Bertall (1820-1882) who made humorous desigsn for Parisian periodicals by the thousands and drew many illustrations for popular editions of the day, including Brillat-Savarin's Physiologie du goût (1848).
SGD. BINDING ONLAID WITH COLOR CHROMOLITHOGRAPHY
Stock number:616.
$US 475.00
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Imprint: New York, Harper and Brothers, 1884
Binding: Hardback
Folio (18 3/4" x 15"). Gray cloth pictorial beveled boards with black lettering and gilt decoration depicting an angel; a.e.g. Boards lightly soiled; wear to extremities. Title page designed by Elihu Vedder; 26 engravings by various artists from drawings by Gustave Dore. Bright copy of scarce title combining artistic talents of Poe, Vedder and Dore.
Tripartite Collaboration by Poe, Vedder and Dore
Stock number:1471.
$US 1350.00
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Imprint: London, George Allen, 1894-1897
Binding: Hardback
4to. in 6 volumes edited by Thomas Wise. White cloth with pictorial gilt Art Nouveau decoration on covers. Gilt and red lettering on spine and red Art Nouveau decoration on back board. Limited to 1000 copies on hand made paper; t.e.g. Original wrappers bound in. Usual foxing to end papers. Bookplate on front paste down of volume 1 of Robert and Gladys Koch, he preeminent turn-of-the-20th-century art historian and she prominent antiques dealer. Walter Crane was one of the most influential artists working around 1900. Engaged in a variety of artistic endeavors, Crane was an important and prolific book illustrator who also produced significant scholarship on this craft. He achieved world wide recognition for his artistic brilliance that can be traced to Blake and the Pre-Raphaelites like Rossetti. In Crane's Faerie Queene, one can see not only these influences but those of the Arts and Crafts movement of William Morris as well as the Art Nouveau phenomenon then sweeping the modern world. The Faerie Queene is Crane's book illustration masterpiece.
Walter Crane's Book Masterpiece
Stock number:1158.
$US 2400.00
Imprint: Leipzig, Weidmann, 1798
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Lg. 8vo., full crushed, black, fine-grained morocco. Both covers decorated with an all-over, geometric design forming different size compartments, achieved entirely in blind; spine with four raised double bands, title in gilt in three of the compartments, the other two decorated in blind. Board edges gilt, elaborate inner gilt dentelles, glazed marble endleaves, a.e.g.; signed on one of the free endleaves: E. RAU, PHILA.A handsomely printed edition with a long (150 pp.) Introduction, followed by the text (412 pp.), printed on facing pages in Greek and Latin, with extensive scholarly notes below. Epictetus (ca. A.D. 55 to ca. 135) was a Stoic philosopher who attracted a large audience for his lectures, among them Flavius Arrianus who collected them, probably in eight books, four of which have come down to us, and later published a summary of his philosophy in the famous MANUALE. It was through these posthumous publications that Epictetus had great influence on the Emperor M. Aurelius. His main teaching was that the universe is the work of God, and that Divine Providence manifests itself in its unity and order.
HANDSOMELY BOUND - PRINTED IN GREEK AND LATIN
Stock number:624.
$US 1150.00
Imprint: Edinburgh, John Gray & Gavin Alston, 1763
Binding: Hardback
8vo., full polished tan calf with a double gilt fillet border on both covers; spine with five raised bands and fanciful gilt decoration within the compartments, including diagonal crosses, typical of the bindings of the FOULIS PRESS. Title on a red morocco label; a.e.g. This attractive volume is divided into three books: Typical Persons, Typical Things, Typical Places, followed by the author's Thoughts on Various Subjects. Nice 18th century bookmaking.
BOUND BY THE FOULIS PRESS?
Stock number:683.
$US 300.00
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Imprint: London, Printed for A. Millar, 1749
Edition: First Edition
Binding: Hardback
Six vols. 8vo. (6 7/16 x 3 15/16 inches), handsomely rebound in three-quarter acid calf over boards covered with 18th century marbled paper;the books have hand sewn blue-and-white matching headbands. Spines with five raised bands and black morocco labels; all edges sprinkled.FIRST EDITION with the errata leaf in Volume I and with all the cancels called for by Rothschild; Volume V: N8 is an unsigned cancel. It contains an ADDITIONAL CANCEL Overlooked in Rothschild; viz., Volume II: N12. As Cross points out, the book was published Feb. 28, 1749 and a second edition, though not so named, was published that same year, but that in Volume I, "...the unpaged leaf of Errata is omitted, and in its place is p. lxiii, the contents being expanded to fill." The second edition was begun before the first was completed, and again, according to Cross, "An attempt was made to make this a paginary reprint of the first, but the variations are numerous."Little can be added to what has already been written about Fielding's Tom Jones other than to mention that this is a DELIGHTFUL COPY with its tasteful retrospective binding which makes use of contemporary paper for the sides. A first edition sold at the October 28, 2010 Sotheby’s sale of “The Library of an English Bibliophile” for just under $18,000 including buyer’s premium. See: Rothschild. I, p.150. Cross. III, 316-317. Grolier One Hundred. 48.
First Edition
Stock number:629.
$US 9750.00
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Imprint: London, William Pickering, 1851
Binding: Hardback
8vo., publisher's green grained cloth with blind decoration on both covers; spine with the title stamped in gilt. Minor rubbing at the spine ends but an excellent, fresh copy preserved in a cloth clam-shell case.FIRST EDITION OF THE AUTHOR'S FIRST BOOK, a Platonic dialogue on how contemporary education warps the minds of young men; it was published anonymously. Except for a few contributions to periodicals, Fitzgerald had nothing published until 1849 when he wrote a memoir to go with a collection of letters and poems of Bernard Barton. He next published, anonymously, Euphranor: a Dialogue of Youth in 1851 and Polonius: a Collection of Wise Saws and Modern Instances in 1852. In 1853 was published Six Dramas of Calderon, "freely translated by Edward Fitzgerald," the only book to which his name was attached during his lifetime. He is best remembered as the translator of the Rubaiyat, recognition for which came after his death. SCARCE.See: The Modern Library at Watlington Park. p. 110. Keynes [Wm. Pickering]. p. 54. Prideaux, pp. 1-3.
AUTHOR'S FIRST BOOK
Stock number:630.
$US 625.00
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Imprint: Leipzig, Insel-Verlag, 1908
Binding: Hardback
Small 4to. #257 of 1100. Half vellum over grey boards, upper cover gilt-stamped with title in medallion designed by van de Velde, spine gilt-stamped with title. Wear to extremities, joints and front hinge starting; t.e.g. Brown eps with bookplate of Robert and Gladys Koch on front pastedown. Gladys Koch was a prominent antiques dealer from the 1950's thru the 1980's. Robert Koch was the renowned art historian who specialized in Art Nouveau. Interior clean and crisp with the famous Art Nouveau double title page by Henry van de Velde.
Van de Velde's Famous Art Nouveau Title Page
Stock number:1376.
$US 1500.00
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Imprint: Paris, A. Turnèbe, 8 cal. December, 1554.
Edition: First Edition
Binding: Hardback
Sm. 4to. (8 3/8 x 6 5/8 inches), 18th century 3/4 vellum over paper-covered boards, title lettered in hand on the spine; edges sprinkled in a red and blue marbled pattern. A FINE COPY.First edition of these ancient texts on surveying, edited by Galland and Adrien Turnèbe from a manuscript which they found in the library of a monastery of the Saint-Bertin at Saint-Omer. And as Ruth Mortimer points out, although the title-page fails to name the editor, Galland's name heads the dedication to the cardinal de Lorraine on leaf *2r. The title-page is without ornamentation; there are, however, five-line decorated woodcut initials and occasional headpieces. "Thirteen full pages of woodcuts of land measurement conclude the commentary of Aggeneus Urbicus on Frontinus, ll K3v-M1v. The succeeding texts are illustrated with 134 similar subjects and diagrams, in addition to nine pages of the symbols used in recording surveys. (Mortimer/French. 244). See also: Maittaire. Historia. II, p. 54. NOT IN Brunet, Murray, Rothschild, or Brun. Just THREE COPIES are cited in OCLC: Stanford NYPL, and Oxford.
16th C. Work ON SURVEYING WITH WOODCUTS
Stock number:633.
$US 3375.00
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Imprint: Firenze, Giacomo Moro, 1797
Edition: First Edition
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Folio, contemporary brown pastepaper-covered wrappers a little worn at the very edges. Preserved in a quarter-morocco clamshell case.First edition (with brilliant impressions) of one of the most imaginative works of calligraphy and decoration that, according to Morison, revived Italian calligraphy at the close of the eighteenth century:"...the disappearance of calligraphy in Italy at the end of the seventeenth century was not so final as had at first seemed the case. The market for writing books appeared to go underground for a hundred years, only emerging at the end of the eighteenth century, when the Florentine master, Gætano Giarré began to produce some entirely and refreshingly novel books, in neo-classical style."Each of the 25 copper-engraved leaves including the title is beautifully decorated with floral garlands, arabesques, birds, animals, vases, trophies and masks. These decorations surround the various calligraphic examples which follow the initial letters that begin a saying or verse. There are examples of alphabets other than roman, including Greek and Hebrew. But it is the decoration--especially the birds and animals--that makes this book especially handsome and desirable. This large, bright example surely must have been pulled near the beginning of the print run for it clearly preserves the lightly engraved author's signature at the bottom of the plates.See: Morison, S. Early Italian Writing Books: Renaissance to Baroque.
"...beautifully decorated with floral garlands, arabesques, birds, animals, vases, trophies and masks."- MORISON
Stock number:643.
$US 4725.00
Imprint: Lunenburg, David R. Godine, 1966
Binding: Hardback
Tall 8vo., paper spine with printed titling over marbled boards; in a matching slipcase. One of a total of 500 copies printed in black and brick red at the Meridan Gravure Company, this on Curtis Tweedweave.David Godine made a personal selection poems in Latin, Italian, French and English, which were set in a variety of types in several sizes, to produce an appealing book. He has gone on to publish other limited editions and press books, and thousands of high quality trade books, many of which are devoted to scholarly subjects invariably avoided by more commercially minded publishers. FINE.
AN EARLY EFFORT
Stock number:645.
$US 275.00
Imprint: London, C. Cooke, N.d. [ca. 1797]
Binding: Hardback
bound with;[___________] ROWE, NICHOLAS. The Poetical Works. With the Life of the Author. London (C. Cooke), N.d. [1797].$295.Two vols. 8vo., full black straight-grained morocco with a double gilt fillet border surrounding a dotted gilt border; in each corner there is a small leaf and flower tool and in the very center of both covers is a crescent moon enclosing the profile of the MAN IN THE MOON, surrounded by seven stars. Smooth rounded spine with multiple gilt bands and a single gilt fleuron in each of the compartments; the volume is identified by the single word, POEMS. Board edges gilt, inner gilt dentelles; a.e.g. An elegant slightly worn period binding.Part of Cooke's Pocket Edition of Select English Poets, "embellished with superb engravings," [four in the first volume, two in the second], each volume contains a life of the author. Granville [Baron Lansdowne] was much praised by Pope (of whom he was an early patron), but his poems were declared by Johnson to be mere imitations of Waller. Rowe, who also knew Pope and Addison, perhaps best known as a playwright, became Poet Laureate in 1715. His poetical works include a famous translation of Lucan, called by Johnson, "One of the greatest productions of English poetry." The neo-classical frontispiece and engraved title are after drawings by Corbould, the other four are after paintings by Kirk.
TWO VOLUMES OF POETRY IN ONE DELICIOUS BINDING
Stock number:649.
$US 295.00
Click for full size image.
Imprint: London, Guild of Women Binders, 1897
Binding: Hardback
4to. Number 97 of 100 on Japanese vellum. Tan cloth with gilt lettering to top board. Covers lightly soiled, spine darkened. Bookplate of Henry Edward Atwell on front paste down. 12 full page tissue guarded illustrations, 3 additional full page illustrations and other decoration, all in Art Nouveau style reminiscent of Walter Crane. A superb and scarce example of Art Nouveau illustration produced by the Guild of Women Binders.
With Illustrations by H. Granville Fell
Stock number:1142.
$US 1500.00
Imprint: London, J.F. and C. Rivington, 1782
Binding: Hardback
12mo., rough canvas cloth over boards, final index leaf lacking, one leaf with a marginal piece missing affecting a bit of text, some early inscriptions; albeit, a solid, not unattractive copy. The 26 woodcuts are keyed to the text and illustrate the objects or concepts being taught. "An abridgment of Comenius's Orbis Pictus [Osborne. p. 123]."
EIGHTEENTH CENTURY PEDAGOGY ILLUSTRATED
Stock number:678.
$US 200.00
Imprint: Munich & Ingolstadt, for J. Fr. X. Crätz, 1763
Binding: Hardback
8vo., contemporary gray boards, lightly rubbed; 21 pages of manuscript notes in an 18th century hand on the front and rear endleaves. Handsome woodcut printer's mark on the title. This fifth edition is an interesting COMPENDIUM listing, among other things, the founding dates of European universities, the various Orders of Knighthood, heresies, dynasties, important peace-treaties, etc. There are also large sections which have geographical interest,. See: Holzmann-Bohatta I. No. 873.
In Boards
Stock number:654.
$US 395.00
Imprint: Rome, Perego-Salvioni, 1826
Binding: Hardback
8vo., in the publisher's wrappers which have been tinted with a yellow wash and printed with his Catalogue of books available at the Piazza S. Ignazio N. 153. Edges untrimmed and unopened. A wonderful survival with its large margins. Hesoid was known as the Father of Greek didactic poetry who lived most of his life as a farmer in the 8th century B.C.
IN PUBLISHER'S WRAPPERS WITH ADS FRONT & BACK
Stock number:656.
$US 185.00
Imprint: Berlin, Phönix Verlag, 1926
Edition: First Edition
Binding: Hardback
Lg. 4to. (11 7/8 x 9 inches), publisher's turquoise cloth with gilt titling, spine a little sunned, but a very good copy of a book that, because of its size and weight, is invariably disbound, or altogether rebound.First edition of this bi-lingual edition devoted to the art of this innovative genius who "masters the language of the poster like no other, and whose designs for book jackets, "…are all derived from the same rich soil that nourishes the garden of his posters." If the prose that introduces the artist is a bit over the top, the more than 220 plates (in color and in sepia tone), some with multiple images to the page, absolutely convinces the reader of just how good a graphic artist Hohlwein was. From tobacco to travel, from automobiles to accessories, his posters, calendars, cigarette packs and sheet music are as fresh today as they were when they first made their appearance.An important work about an important artist, difficult to find in original condition.
AN ATYPICALLY NICE COPY
Stock number:658.
$US 975.00
Imprint: Leipzig, Insel-Verlag, N.d.
Binding: Hardback
8vo. (7 x 5 inches), full crushed tan goatskin with a pair of double gilt fillet borders, the innermost with corner flourishes. In the center is a gilt medallion portrait of Holbein; spine with four raised bands and gilt decoration and titling. Slightlt rubbed extremities but a very solid, attractive binding by Walter Tiemann.The work is comprised of the forty woodcuts made for the first Holbein edition, printed in Lyon: Les Simulachres & histoirees faces de la Mort. There is no text, and all the information about the prints is furnished on the colophon page, which declares that the edition consists of 800 numbered copies of which 100 were printed on handmade paper by E.A. Enders in Leipzig. One hundred copies of the deluxe edition were then hand-bound by Tiemann. The imaages are superbly printed after the images in the Königlichen Kupferstichkabinett in Berlin. Fine and uncommon.
One of 100 Copies
Stock number:795.
$US 1250.00
Imprint: Basel, Chez Maehli-Lamy, 1843
Binding: Hardback
8vo., three-quarter morocco over marbled boards, with the title stamped in gilt on the spine, extremities lightly rubbed. This bilingual edition begins with a short history of the subject, followed by a series of woodcuts portraying the usual array of humankind confronting Death personified. A number of the plates bear the initials GS along with a rendering of a knife to signify the name of the wood cutter, George Scharffenberg, who first cut these images into wood in 1576. As Aldred Warthin [The Physician and the Dance of Death] points out, "Most of these [18th century editions by de Mechel] have 41 woodcuts [as does ours], 27 from Holbein, 7 from the Basel Totentanz, and 7 probably from the Totentanz in Berne...Numerous cheap reproductions of these were issued in Basel during the first half of the nineteenth century." Our edition has cuts that measure a generous 4 3/8 x 3 inches and are close copies of the originals. In over thirty years of searching, it is the very first copy of this edition we have seen.See: Warthin. p. 83-84 [illustrations], and 89. Not in Minns.
A 19TH C. DANCE OF DEATH WITH WOODCUTS BY SCHARFFENBERG
Stock number:609.
$US 625.00
Imprint: London, William Charlton Wright, 1825
Edition: First Edition
Binding: Hardback
8vo., Publisher's printed boards, rubbed and hand soiled, with a calf spine; internally, quite nice.First edition of what purports to be the work of John Bewick but probably is not. As Aldred Warthin (The Physician of the Dance of Death. pp. 81-82) writes: "The cuts with several exceptions are imitations of the original Holbein, but are absurdly modernized; both the costumes and the properties are represented in the contemporary style...[they] have somewhat the quality of caricature in them...If these cuts are Bewick's, which Douce seems to doubt, they are far inferior to his other work, and executed in a different style. They represent a far departure from the old medieval conceptions and treatment, and betray the tendency of the early nineteenth century to use the Dance of Death motive for purposes of caricature." Comparison with either of Bewick's 1789 editions, the London edition and the notably rare Charnley/Newcastle imprint, bears this out. AN EDITION SELDOM MET WITH!See: Douce, Francis. Holbein's Dance of Death. Lon., 1858. Not in the Susan Minns collection (sold by AAA Galleries in 1922), which contained the other Bewick printings.
A VERY SCARCE EDITION
Stock number:594.
$US 775.00
Imprint: London (?), [1825]
Binding: Hardback
4to., Three-quarter green morocco over marbled boards.Essentially an album or scrap book into which have been laid down cuttings from what appears to be a newspaper or a magazine. The illustrations and text are that of a publication by William Charlton Wright, entitled The Dance of Death of the Illustrated Hans Holbein...A Series of fifty-two engravings on wood by Mr. Bewick...London, 1825, Since its publication, it has never been accepted as Bewick's work, and according to Aldred Warthin (The Doctor of the Dance of Death): "The cuts with several exceptions are imitations of the original Holbein, but are absurdly modernized; both the costumes and the properties are represented in the contemporary style...[they] have somewhat the quality of caricature in them...If these cuts are Bewick's, which Douce seems to doubt, they are far inferior to his other work, and executed in a different style. They represent a far departure from the old medieval conceptions and treatment, and betray the tendency of the early nineteenth century to use the Dance of Death motive for purposes of caricature." Comparison with either of Bewick's 1789 editions, the London edition and the notably rare Charnley/Newcastle imprint, bears this out." Nine of the 52 cuts are not present here (plates 1, 26-31, 50 and 51); the pagination, the type faces, the placement of the folios are inconsistent, and there is text printed on the versos on each cutting, all of which supports the theory that these plates with their accompanying commentary were extracted from a serial publication using the same text and images as in the 1825 William Charlton Wright book. UNDOUBTEDLY RARE!See: Douce, Francis. Holbein's Dance of Death. Lon., 1858. Not in the Susan Minns collection (sold by AAA Galleries in 1922), which contained the other Bewick printings.
AN ALBUM—PRINTING HISTORY UNKNOWN
Stock number:595.
$US 675.00
Imprint: London, S. Gosnell, 1803
Edition: First Edition
Binding: Hardback
Sm. 4to., contemporary paneled calf with blind decorated sides and spine, which has been rebacked much earlier; red morocco label, all edges stained red. Occasional foxing, mainly to the beginning and end; a handsome, well-printed copy.The 46 Dance of Death plates are within separately engraved borders in four different designs, three of which are copied with slight variations from the Diepenbeke borders to W. Hollar's plates. As to the plates themselves, 30 are copies from Hollar's designs, the rest are from the spurious editions of Holbein's cuts, with variations. The last plate, not mentioned by Douce as being in this work, and often lacking, is a design by De Mechel called, "Petite Danse de Morts," which was originally engraved on the sheath of a poignard, after drawings by Holbein.The work was first published in Edinburgh in 1788. According to Aldred Warthin, "The paper used in the Edinburgh edition is extremely poor, which may account for the poor impressions of the plates. Two other editions of Deuchar were printed by S. Gosnell, London, in 1803 [one WITH and one WITHOUT the Diepenbeke borders]. The prints in these London editions are much better than those of the Edinburgh, and a better quality of paper is used." It would appear that Warthin did not know that there were two editions of 1803 printed for Scott by two different printers, S. Gosnell, and W. Smith & Co.See: Warthin, Aldred S. The Physician of the Dance of Death. pp. 79-80. Douce, Francis. The Dance of Death. pp. 135-36. Minns Collection. AAA Catalogue, 1922. No. 268 ["Large, uncut copy of this rare edition of Deuchar's plates. Printed on heavier paper than the first edition, and with very fine impressions of the plates."].
PLATES WITH THE DECORATIVE BORDERS
Stock number:597.
$US 2250.00
Imprint: London, W. Smith for John Scott & Thomas Ostell, 1803
Edition: First Edition
Binding: Hardback
Squarish, small 4to., original gray publisher's boards with a printed paper label: Holbein's Dance of Death with Fifty Plates. Twelve Shillings. Rebacked, a few plates guarded, slight widespread spotting. RARE IN THIS STATE.As to the plates themselves, there are fifty, as the cover label states (the title-page calls for 46), and they differ in number slightly from another edition of the same year printed by S. Gosnell for Scott and Ostell. What's more, they are not set within decorative borders and the letterpress and title-page differs significantly from the other edition in both typeface and format; here the text is gathered in an integral section that precedes the plates, in the other edition the plates are integrated into the text (we know of another copy in the publisher’s gray boards in which the plates are untrimmed and gathered in a section after the letterpress). Thirty of the plates are copies from Hollar's designs, the rest are from the spurious editions of Holbein's cuts, with variations. The last plate, not mentioned by Douce as being in this work, and often lacking, is a design by De Mechel called, "Petite Danse de Morts," which was originally engraved on the sheath of a poignard, after drawings by Holbein. The work was first published in Edinburgh in 1788. According to Aldred Warthin, "The paper used in the Edinburgh edition is extremely poor, which may account for the poor impressions of the plates...[and] The prints in these London editions are much better than those of the Edinburgh, and a better quality of paper is used." The quality of the plates in the two 1803 editions is similar as to wear, the impressions of the Gosnell-printed edition are, however, considerable darker than are those printed by Smith.See" Warthin, Aldred S. The Physician of the Dance of Death. pp. 79-80. Douce, Francis. The Dance of Death. pp. 135-36. Minns Collection. AAA Catalogue, 1922. No. 268 ["Large, uncut copy of this rare edition of Deuchar's plates. Printed on heavier paper than the first edition, and with very fine impressions of the plates."].
IN THE PUBLISHER'S BOARDS
Stock number:598.
$US 2150.00
Imprint: London, J. Coxhead, 1816
Binding: Hardback
Publisher's printed gray boards, copy set within decorative borders; spine renewed with matching paper.Based upon Holbein's original 15th century designs, Wenceslaus Hollar, the Bohemian etcher born in Prague in 1607 created copper plates for his own Dance of Death. In 1647 an edition of 30 copperplates was brought out in London; another edition from these plates was published in 1651. The plates then disappeared from sight until the late 18th-early 19th centuries, when several editions from the "newly discovered" plates began to appear. In this copy, which appears "as issued" by the publisher, the plate section is gathered together at the front, just after the title-page and before the letterpress (i.e. "The Life of Holbein," followed by an essay on the history of the dance of death, called "The Dance of Death," is followed by "Descriptions of the Cuts in Hollar's Dance of Death," in English and French. At the end is a short essay entitled, "The Dance of Macaber".) Typically, these copies in boards were handed over to bookbinders who, before sewing the gatherings, interleaved the descriptive text with the plates. It is HIGHLY UNCOMMON to find the work in the original boards in such an unsophisticated state. According to a notice on the boards, the work was issued by Coxhead coloured for 25s and plain for 16s. See: Warthin, A. S. The Physician of the Dance of Death. pp. 72-75. Minns Catalogue No. 253.
IN THE PUBLISHER'S PRINTED BOARDS
Stock number:601.
$US 850.00
Imprint: [London, James Edwards, (1789]
Binding: Hardback
8vo. (7 x 4 3/4 inches), full contemporary acid calf with a gilt decorated floral border; smooth rounded spine with horizontal Greek key gilt bands and floral decoration within the compartments, morocco title label. Slightly rubbed at the extremities. The edition is printed on thick paper and there is occasional light foxing. A very uncommon edition and not seen before with the added 23 leaves at the end (see below). Based upon Holbein's original 15th century designs, Wenceslaus Hollar, the Bohemian etcher born in Prague in 1607 created copper plates for his own Dance of Death. In 1647 an edition of 30 copperplates was brought out in London; another edition from these plates was published in 1651. The plates then disappeared from sight until the late 18th century when several editions from the "newly discovered" plates began to appear. The copperplates apparently came into the hands of an English family of nobility, from whom the bookseller, Edwards, obtained them. We have compared the plates of our edition with the plates of the ALSO SCARCE 1804 edition (printed by C. Whittingham for John Harding) and with the more common 1816 edition (printed by B. McMillan for J. Coxhead) and notice unmistakable differences in small details, which may be the result of the copperplates having been "rebitten with great care," according to Douce, or entirely recut.The title-page of our edition carries no place, date of publication, or publisher's name. We have inferred, however, that is it the 1789 printing of the plates (before the rebiting); the 1794 Edwards edition (See: No. 249 in the Minns Catalogue) is described thus, "Printed from the original plates rebitten with great care to prevent injury in the retouching."We have also compared this copy with another copy of the 1789 edition, which does not include: The Daunce of Machabree: Made by Dan John Lydgate, Monke of S. Edmunds Bury,(who according to Douce [pp. 28-29] translated them from the France), and found difference in the placement of the two portraits of Hollar. In the present copy the oval portrait of Hollar, age 40, etched by Barlow, faces the title-page, while the portrait of the older Hollar faces the opening of the Introductory Essay. In the other 1789 copy another oval portrait of the full bearded, older Hollar faces the title-page, while the portrait AET 40 is placed opposite the part title (i.e. after the Introductory Essay): “Description of the Cuts in Hollar's Dance of Death.” BOTH 1789 EDITIONS ARE GENUINELY RARE, THE ONE WITH THE ADDED MATERIAL IS ESPECIALLY SO. See: Warthin, A. The Physician of the Dance of Death. pp. 72-76. Douce, F. Holbein's Dance of Death. pp. 111-113.
WITH LYDGATE'S DAUNCE OF MACHABREE AT THE END
Stock number:599.
$US 2450.00
Imprint: London, William Pickering, 1829
Binding: Hardback
8vo. (5 3/4 x 3 3/4 inches) full roan diced russia with a double gilt fillet border surrounding a wide roll border made up of urns and foliage; spine with four raised bands with the title on a morocco label, the other compartments decorated with a large gilt urn surrounded by stars and flower heads. Board edges gilt, inner gilt dentelles; a.e.g. Slight wear to the corners. School prize bookplate from Eton on the front paste down.Latin edition of Horace based principally on the editions of Zeune, Gesner and Bothe. Said to be a sly but never insensitive man, a sometimes aloof lover of independence who was also a devoted friend of the emperor Augustus, of Mæcenas, and of Vergil, Horace was an Epicurean in good times and a stoic in adversity. Not in Keynes or in Pickering & Chatto catalogue on the publications of the Press. Just seven copies reported in OCLC: Harvard, Yale, Princeton, Brown, Stanford, Northwestern and Loras College.
IN A HANDSOME NEOCLASSICAL VICTORIAN BINDING
Stock number:660.
$US 495.00
Imprint: London, Wm. Pickering, 1824
Binding: Hardback
Large Paper copy (4 1/16 x 2 1/2 inches), bound in nineteenth century full red morocco (by Smeers) with centered gilt fleurons on both covers; spine with five raised bands and gilt titling. New inner and outer hinges. A.e.g. This is the second Diamond Classic edition of Horace, printed by Corali for Pickering. The first was published in 1820. Although the engraved title-page and colophon are dated 1826 and the frontispiece is 1828, these discrepancies may represent delays in its publication. Dibdin noted that this edition of Horace was the smallest in the world.Keynes. pp. 12, 73. "...issued in red cloth, paper label, at 6s; also printed on large paper (11cm.), and issued in vellum [3 copies]."
IN FINE FRENCH MOROCCO
Stock number:722.
$US 600.00
Imprint: Paris, H, Floury, 1927
Binding: Hardback
Folio (15 x 11 inches), white linen back over paper boards with ties, front cover with red titling. One of 500 numbered copies printed on Arches (there were another 26 copies with a second suite of plates printed on Madagascar), all executed by Daniel Jacomet in GRAVURE, some of which are HAND COLORED. The Introduction by Paul Jamot compares the subject of the plates, which cover various representations of the Eucharist from the second to the twentieth century. At the end are detailed explications of the individual plates, including the whereabouts of the works of art. A very nice copy.
PORTFOLIO OF GRAVURES SOME OF WHICH ARE IN COLOR
Stock number:625.
$US 125.00
Imprint: Cambridge, Printed for the Author, [1813]
In her Student's Guide to Western Calligraphy, Joyce Irene Whalley, formerly of the V&A, Library calls the title of this work "very seductive." She goes on about Jenkins, "He based his system on the theory that the round-hand could be divided into six basic strokes of the pen and that having mastered these, anyone could write a good hand. Unfortunately he found that certain letters such as k and s did not fit into his scheme, while z was omitted as unnecessary." Ms. Whalley's book reproduces the very attractive Jenkins title-page as a full-page illustration. Facing the title-page is a portrait of the author, and the book is filled with engraved examples of letter formation as well as wood engraved illustrations within the text. Jenkins cites a page of endorsements for his methods at the beginning, including one from John Adams, Late President of the United States. A nice copy with not too much of the typical browning.Whalley p. 112.
THE FIRST WORK OF ITS KIND PUBLISHED IN AMERICA
Stock number:665.
$US 550.00
Click for full size image.
Imprint: London, G. Harrap & Co., 1925
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
4to. #576 of 1000 for England signed by Harry Clarke. Vellum backed boards. Slight "bubble" to spine; t.e.g. Near fine in fair original gray DJ with tears to extremities. Pictorial ep. Pages uncut tho two were opened roughly. Bookplate of Robert and Gladys Koch. Gladys Koch was a prominent antiques dealer from the 1950's thru the 1980's. Robert Koch was the renowned art historian who specialized in Art Nouveau. 8 full page color illustrations in addition to numerous others in black and white by Harry Clarke, the unique Art Deco illustrator whose bizarre style reflects Beardsley's influence. Bright copy of an Art Deco masterpiece illustrated by one of its artistic geniuses.
With Harry Clarke Illustrations
Stock number:1412.
$US 1750.00
Click for full size image.
Imprint: London, A. Millar, et. al., 1754
Binding: Hardback
Lg. 4to. (11 1/2 x 9 1/2 inches, untrimmed). Pages 8-19 of the text browned with offsetting, seven (of eight) full-page plates printed in chiaroscuro tones, three of which are printed in bright oil colors, using at least six block each. The plates are occasionally spotted, and as Joan Friedman (Color Printing in England: 1486-1870) explains, “...they are printed in Jackson’s later technique employing local color. Unfortunately, the oil based inks, the importance of which he stressed in the text, were not suited to the paper he used, and in all known copies the colors have spread and become blurred in the manner shown here [i.e. Plate II].” The plate selected by Ms. Friedman for her catalogue, “The Building and the Vegetable,” is spotted not unlike ours. The plates in this copy are: Classical Bust (rectangular plinth), Hercules Standing, Peacock among Vegetation, Ruined Building and Vegetation, Classical Bust (round plinth), Building and the Vegetable, Standing Classical Figure (arm extended). The plate not present is that of a Lion.Copies of this scare book often turn with fewer than eight plates, and it may be presumed that they were issued this way. An English colleague recently catalogued a copy containing just five plates, with no visible sign that any leaves had been removed subsequent to publication. Ms. Friedman further writes, “...the illustrations...are of the utmost importance, for they are the first color book illustrations to have been printed in England since the Book of St. Albans...which remained an isolated example of color printing in England... for another 250 years.”See: Friedman. pp. 4-7. J. Kainen. John Baptist Jackson. pp. 33-49, no. 53
ENGLISH COLOR PRINTING AFTER THE BOOK OF ST. ALBANS
Stock number:908.
$US 5750.00
Imprint: N.p., N.d. [1872]
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Oblong 8vo., (4 x 7 inches), contemporary full dark green morocco with decorative stamping on both covers; spine expertly rebacked to match. In this album of 102 leaves, there are (mostly) nicely inscribed sentiments, signed and dated during the summer months of the year 1872. Many of the signers are from the Hudson River valley; others come from as far away as the southern United States, the Midwest, and there are contributors from Cuba and Colombia. A number of the leaves have small added penwork flourishes, but the highlight of the album is a series of FIVE FINELY RENDERED PAGES of birds, executed in purple, blue, gold and brown ink; each one is signed, S. I. JOHNSON, PENMAN. They are large examples of full color “Off hand flourishing.” On the facing pages, drawn in brown ink, there are five more examples of large flourished details of birds. All ten examples are very similar in style and execution to entry No. 62 in the catalogue, Calligraphy & Handwriting in America: 1710-1962, which is credited to an unknown penman. The signed examples of birds by S. I. Johnson are EXCEPTIONALLY FINE.Because of the disparity of the residences of the signers combined with the dates on which they wrote their entries, one can conclude that the album was not a record of a trip undertaken by the album’s owner. Rather, it would seem that the book was signed either by visitors to his or her home, or, perhaps, it was signed by people who met (vacationed) at some watering place in New York. Also, because many of the pages are so meticulously inscribed it is possible that the people who signed the book had a common interest in calligraphy (and were attending a meeting of a society or group who shared that appreciation).A handsome example of American folk art. Calligraphy & Handwriting in America: 1710-1962 Assembled and Shown by the Peabody Institute Library, Baltimore, Maryland. November, 1961—January, 1962.
FIVE FINE SIGNED EXAMPLES “OFF HAND FLOURISHING”
Stock number:571.
$US 1150.00
Imprint: Berlin, Bruno Cassirer, 1910
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
4to., publisher's gilt-decorated vellum over stiff beveled boards, designed and signed by Beardsley. VERY BRIGHT! Of the German edition there were 650 copies, numbers 1-50 of which "in Pergament gebunden,"; (this is copy, although numbered 620, is bound in the DELUXE GILT VELLUM BINDING). The book’s small initials are engraved in wood. The full-page initial plates were printed in collotype on vellum finished paper. The publisher, Bruno Cassirer, always ahead of his time, was responsible for publishing the work of artists such as Lovis Corinth, Max Liebermann, Max Slevogt, et. al.Writing to Smithers on December 19, 1897, Beardsley says about Volpone, "I beg of you not to allow it to be delayed; it will be an important book as you will see from the drawings I am sending you. Its marked departure as illustrative and decorative work from any other arty book published for many years must create some attention [Benkovitz. Aubrey Beardsley: An Account of His Life. pp. 188-90]." "The style of the illustrations suggests seventeenth century engraving...[and] the influence of Mantegna, merged with a more robust baroque manner...He was working on the Volpone drawings... at the time of his death [The Turn of the Century]."See: Lasner, M. S. A Selective Checklist of the Published Work of Aubrey Beardsley. 129B. The Turn of the Century 31.
“It will be an important book, as you will see...”
Stock number:547.
$US 950.00
Imprint: Berlin, Bruno Cassirer, 1910
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
4to., publisher's gilt decorated cloth over stiff beveled boards (the design signed AB Paris); the date stamped at the very bottom of the spine below the publisher's name reads: 1910. FRESH AND BRIGHT!One of the 600 (of a total of 650) of the Ordinary Issue printed on laid paper. See: Lasner, M. A Selective Checklist of the Published Work of Aubrey Beardsley 129B. The Turn of the Century 31.
Another Copy
Stock number:548.
$US 475.00
Imprint: Frankfurt am Main, Undreåischen Buchhandlung, 1838
Binding: Hardback
Bound with;JUNG, ABBÉ L. Der herr ist mein Untheil! Frankfurt am Main (Undreåischen Buchhandlung), 1840.Two works bound in one. 8vo., full dark brown crushed calf with a single gilt fillet border surrounding a pair of gothic arched windows; in the center of the upper cover is a six-sided cartouche with the name of the owner stamped in gilt; Clémentine Simonnaire. Smooth, slightly rounded spine with gilt decoration; bright turquoise endleaves; a.e.g.The name of the owner for whom these two religious works was bound is not German (and the binding doesn't appear to be German); it is more likely to have been bound in Paris (or perhaps Brussels or Geneva). In any case it is one of the best preserved copies of a book of this kind one is likely to find.
CATHEDRAL BINDING IN BRILLIANT CONDITION
Stock number:528.
$US 295.00
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