Claude-François MenestrierMareMagnum
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1689In-8°; bella antiporta incisa su rame + pp. (24), 336, (22) con la Table des noms des maison dont les armoiries son contenu en cet ouvrage, 28 tavole a piena pagina incise su rame con numerosissimi esempi di stemmi, e nel testo numerosi legni illustrano le spiegazioni dei termini dell’arte del blasone. Trattato tecnico sull’arte araldica, in cui si illustra la storia, e l’importanza di quest’arte, e ogni metodo di partizione, terminologia e scelta degli emblemi per fare gli stemmi; l’interesse dichiarato dall’autore è quello di fornire scientificità a questa tecnica. Legatura in piena pelle con tassello, titolo e fregi in oro al dorso.
2004ref. 31910Lathuile - Haute-Savoie, Éditions du Gui, 2004. 2 volumes in-8 (15 x 24,5 cm), 388 pp plus un volume non paginé : fac-similé du manuscrit Français 5230 conservé au départements des manuscrits occidentaux de la Bibliothèque nationale de France. Planches d'armoiries en couleurs. Reliés pleine toile éditeur marron, auteurs, titre et éditeur en lettres dorées en dos pour le vol de texte, un tome avec fer doré sur le plat pour l'armorial, étui illustré.
ref. 13104Arms John Taylor. BEAVER HOUSE AU NORD. Fletcher 88. Etching 1920. An Artist's Proof printed by Fredrick Reynolds. Signed and dated in pencil by Arms lower right and incscribed "Artist's Proof" lower left. The edition was 75 of which 10 impressions were titled "Au Nord."5 7/8 x 7 7/8 inches 150 x 201 mm. framed to 17 x 18 inches. In excellent condition. This print is scarce. unknown
ref. 13103Arms John Taylor American 1887-1953. LA COLEGAITA TORO. Fletcher 284. Etching 1935. Edition of 153. Signed by Arms in ink lower right and inscribed by him in ink lower left "Private Collection b ii." In excellent condition. 9 3/4 x 12 3/4 inches 248 x 324 mm. plate framed to 18 3/4 x 21 1/2 inches. Spanish Church series #12. Fletcher lists this as one of Arms' "Preferred Plates" and which he apparently kept in his own collection. unknown
ref. 13105Arms John Taylor. PUERTA DEL OBISPO ZAMORA THE BISHOP'S DOOR ZAMORA. Fletcher 266. Etching 1933. Edition 160 of which this is likely one of the 25 printed by Rigal in 1933 135 were printed in 1937-38 by Strang. Listed by Flether as one of Arms' "Preferred Plates." Spanish Church Series #9. 12 1/2 x 7 1/8 inches 318 x 183 mm. plate framed to 23 x 17 1/4 inches. In excellent condition. unknown
1937ref. 0059521937. No Binding. Fine. Etching. John Taylor Arms. American Artist 1887-1953. Fletcher 307 iii/IV edition 75. Image size: 13 7/8 x 8 5/8 inches; paper size: 18 1/4 x 11 1/2 inches. SIGNED and dated 1937 in pencil. Inscribed "Ed.75 III." A fine impression with full margins printed on J. WHATMAN watermarked paper. The raisonne lists an edition of 175 for this state. Depicting the western façade of the abbey church of Saint-Riquier which is considered one of the most beautiful examples of Flamboyant Gothic architecture in the Hauts-de-France region in northern France. John Taylor Arms is considered one of the most famous printmakers of the first half of the century. He is mostly noted for his etchings of medieval architecture as this etching attests. His work can be found in most major collections of American prints. unknown
1928ref. 23171928. Very good. Etching with drypoint on antique cream laid paper 12 x 5 9/16 305 x 142 mm; sheet 13 1/4 x 8 1/2 inches 337 x 216 mm. Signed dated and inscribed in the lower margin in pencil. Although Fletcher specifies only 2 trial proofs Arms himself has inscribed "Trial Proof VII" in pencil in the lower margin. An impression aside from the regular edition of 100 printed on 18th century paper with a contemporary inscription in ink in the upper right corner which reads "Cent quatre vingt quatre" one hundred twenty four. There are some areas of light discoloration in the margins that date to the origin of the paper. Printed by Frederick Reynolds assisted by Henry Carling. A magnificently detailed impression in excellent condition. Fletcher 212. Périgueux has one of the most extensive old towns in the Dordogne department in France. The Périgueux Cathedral was originally built in the 12th century but it was rebuilt by the architect Paul Abadie between 1852 and 1895. The base of the bell tower was part of the original church. Today the square bell tower has three tiers pierced with arches that support a tall dome. In Arms' etching the bell tower looms above a narrow cobblestone alley lined with ancient stone buildings. In perhaps a tribute to Whistler Arms left building surfaces unmarked by his etching needle. Light vertical passages draw the viewer's eye toward the darker more detailed center of the image. One's eyes move upward with the play of shadow texture and light toward the imposing domed bell tower. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
1937ref. 10391937. Superb. Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches 353 x 221 mm full margins. Signed dated titled numbered "III" and inscribed in pencil. One of approximately 175 third state of 4 impressions before the inscription was removed. In superb condition. French Church Series No. 39. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
1932ref. 10431932. Superb. Etching on green-hued antique laid Japon paper 9 7/16 x 4 1/16 240 x 104 mm full margins. Signed dated and inscribed "Ed. 100 II." One of a total edition on 124 impressions printed by David Strang. French Series No. 33. In superb condition with one spot of light brown discoloration in the lower right margin well outside of image area. Fletcher 246. This etching was awarded the Bronze Medal of Honor in Graphics Annual Exhibition Painters and Sculptors Society of New Jersey Jersey City NJ 1951. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
1925ref. 8291925. Very good. Etching on cream wove paper 6 x 4 inches 153 x 102 mm full margins. Signed in pencil lower margin. From the edition of 150 printed by Frederick Reynolds. Fletcher 163. This work was commissioned by The Print Connoissuer and served as the frontispiece for the October 1925 issue. Illustrated on p. 52 Dorothy Noyes Arms Churches of France Note: according to Fletcher Arms was assisted in work on this plate by Kerr Eby both concluding "neither very successful. unknown
1926ref. 20491926. Very good. Etching on extremely delicate antique Japon laid paper 12 x 5 305 x 127 mm; sheet 15 3/4 x 7 1/8 inches 400 x 178 mm full margins. In very good condition. A magnificently detailed and rich impression with rich burr and good inking on rare paper. Fletcher states that even though the plate was completed in 1926 it was not published until 1927. Fletcher 189. Born in 1887 in Washington DC John Taylor Arms studied at Princeton University and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I Arms served as an officer in the United States Navy and it was during this time that he turned his focus to printmaking having published his first etching in 1919. His first subjects were the Brooklyn Bridge near the Navy Yard and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy the plate for Guardians of the Spire was created in 1921. He used what was available to him namely sewing needles and a magnifying glass to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war Arms enjoyed a successful career as a graphic artist created a series of etchings of American cities and published Handbook of Print Making and Print Makers Macmillan 1934. He served as President of the Society of American Graphic Artists and in 1933 was made a full member of the National Academy of Design. Arms died in Fairfield Connecticut in 1953. unknown
1927ref. 10441927. Excellent. Etching on antique wove Catalunya-Spain watermarked paper 12 x 5 inches 305 x 127 mm full margins. Signed and dated in pencil lower margin. In excellent condition with light toning along the left margin outside of the image area. An impression from the regular edition of 120 printed by Frederick Reynolds. Fletcher 189. Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
1944ref. 10151944. Very good. Etching on bluish-grey antique laid paper 5 x 3 5/8 inches 127 x 93 mm signed dated and inscribed "III" in pencil lower margin. A proof impression from the third state of 3 after the reduction of the plate and before the regular edition of 72. Printed by David Strang. In very good condition with some minor reddish toning around the extreme sheet edges and in a stripe occurring diagonally across the top sheet area all well outside of image area. Fletcher 340B. Demonstration Series No. 93 Mexican Series No. 1 3rd state Note: Fletcher states that there is confusion regarding the third state in its edition. On prints in the Arms family collection the size is 3 proofs plus an edition of 36 however Fletcher reports that in 1949 Arms told him there were only two proofs and an edition of 72. Fletcher states to own an impression of this work which is annotated "III Ed. 72." Paper: Arms was typical of the artists of this period - he was obsessed with paper a mania for collecting paper that could/would improve an edition. The quantity he left after his death distributed by his wife to fellow artists witnesses his love for finely made paper -paper interesting because of texture color distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung The Reformed Church Middletown Dauphin County Pennsylvania 1708 bought in a bookshop in Philadelphia. His early prints 1915-1919 evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy still bearing the estampe of the office or department; others carry penned ink page numbers taken from old ledgers of the Eighteenth Century-all beautiful shades of grey blue and green handmade ribbed and otherwise. Some of his color aquatints were printed on full sheets of heavy chine or Japanese vellum giving a sense of luxury in the richness of the stock and the width of the margins. There was a myriad of modern papers gleaned in England France Italy and the United States. -William Dolan Fletcher A Man For All Times p. 15. unknown
2010ref. 657870Knopf 2010. First Edition. Unknown. Fair/Fair. THE AUTHOR'S PERSONAL COPY - David Shields' own personal working copy of his most influential and controversial book REALITY HUNGER with his extensive notes and markings for appearances and teaching. Heavily annotated and marked up. A fair copy at best shows heavy wear and signs of use. If you want one copy of a book intimately connected with the author from his heavy post-publication use - this would be it. First edition stated hardcover in jacket. Knopf unknown
1856ref. AQ242771856. Manuscript on paper. Single bifolium. With original stamped envelope. Old horizontal and vertical folds. Short tears at folds cross-written on terminal page. Envelope worn and soiled. An autograph letter in the hand of private Thomas Arms of the 12th Royal Lancers addressed to his sister written at Scutari Istanbul 17th January 1856 two months prior to the cessation of hostilities during the Crimean War. Arms references his participation in the Battle of Tchernaïa the fall of Sebastopol and the conditions he and his fellow soldiers had to endure: 'You wished for some small token from Sebastopol but I had nothing but a Russian musket and bayonet and those I sold to one of our officers as I have no means of sending it to England.things are very dear 1lb of bread here is 1/6 meat we cannot buy for any price we give 2 shillings for a bottle of porter or ale and we are only getting half allowance of rum to what we used to get and there it is a great deal of gambling amongst the troops'. The cross-written portion of the letter is of particular note for a passing mention of reformer of army medical services and of nursing organisation Florence Nightingale 1820-1910: 'Dear sister their sic are some kind ladies in these hospitals and kind nurses here to attend upon you. Miss Nightingale is here and Miss Roberts and some more very amicable from England'. . unknown
ref. 117477Paris, Chez Sebastien Mabre-Cramoisy 1669, 380x260mm, VI - 714 + 722pages, reliure veau marbré de l’époque avec titre, et ornementations dorés au dos à six nerfs. Toutes tranches rouge. Bordure fleurie. Manque un bout du cuir au dos, coiffe inférieure manquante, coins émoussés et charnières craquelées, néanmoins reliure solide. Cachet de bibliothèque et mouillures sur le haut des coins des pages 537 à 540, autrement bel exemplaire, intérieur propre.
ref. 175-Do.J. Feder in Braun, Aquarell, Deckfarben und Goldbronze, auf Pergament. 20,7:15,3 cm. - Stellenweise leicht berieben und angeschmutzt.
1674ref. P1-06-0Dom, Petri Frambotti, 1674. In-4 (200x145 mm), relié plein vélin époque, charnière faible, (16), 391 pp, (29). Deuxième édition parue la même année que la première. Avec 59 figures de Médailles dont 48 recto verso, 4 figures de Blason dont l’une répétée une fois, 6 Initiales gravées et 2 Culs-de-Lampe dont l’un répété 3 fois et une belle Marque de l’Imprimeur à la fin : « À l’image de Minerve appuyée sur un olivier, avec une devise : Pacis opus ». L’ouvrage est divisé en 4 parties dont les 3 dernières consacrées en partie à Byzance et à l’empire Ottoman. Ouvrage peu commun.
ref. 229991911. Grant of Arms on vellum hand-coloured coat of arms and three heraldic crests manuscript text with first line in gilt duty stamps to left margin signed by Sir Alfred Scott-Gatty Garter King of Arms and and William Weldon on behalf of George Edward Cokayne Clarenceux King of Arms to lower margin appended red wax seals in gilt skippets. The document approximately 67 x 72 cm rolled and contained in original hinged wooden box 565 x 145 x 64 mm with red morocco covering the lid bearing three royal gilt-embossed 'GR' ciphers each surmounted by a crown. Very good. 1911. hardcover
ref. Bloomsbury-9781441150196Bloomsbury Academic. Hardback. New. 160 pages Bloomsbury Academic hardcover
ref. Bloomsbury-9781441150196Bloomsbury Academic. Hardback. New. 160 pages Bloomsbury Academic hardcover
1876ref. 500037357London: The English Picture Publishing Company 1876. First edition thus. . Paperback. Good. The English Picture Publishing Company was formed by Charles Rowley George Milner and Frederic Shields " It was all done under Madox Brown's influence we lost half our cash but we spread some fine things the like of which was not on the market." They set about to publish photographic reproductions of the work of contemporary and earlier British artists. The company became the Fine Art Autotype Company. The company operated out of Manchester. Any prints by this company are scarce. Some have found their way into prestigious collections e.g. The British Museum & The Wellcome Library. Frederic James Shields March 14 1833February 26 1911 was a British artist illustrator and designer closely associated with the Pre-Raphaelites through Dante Gabriel Rossetti and Ford Madox Brown. This title not mentioned on the net. 15" by 22" though the actual images are 6".5 by 8.5". Marginal damp stain The English Picture Publishing Company paperback
1876ref. 500037356London: The English Picture Publishing Company 1876. First edition thus. . Paperback. Good. The English Picture Publishing Company was formed by Charles Rowley George Milner and Frederic Shields " It was all done under Madox Brown's influence we lost half our cash but we spread some fine things the like of which was not on the market." They set about to publish photographic reproductions of the work of contemporary and earlier British artists. The company became the Fine Art Autotype Company. The company operated out of Manchester. Any prints by this company are scarce. Some have found their way into prestigious collections e.g. The British Museum & The Wellcome Library. Frederic James Shields March 14 1833February 26 1911 was a British artist illustrator and designer closely associated with the Pre-Raphaelites through Dante Gabriel Rossetti and Ford Madox Brown. This title not mentioned on the net. 15" by 22" though the actual images are 6".5 by 8.5". Marginal damp stain The English Picture Publishing Company paperback
1866ref. 1222Augusta Georgiano publisher 1866.Folio broadside approximately 15" x 13" printed on medium paper employing different fonts & sizes of type. This copy with extensive annotations in pencil providing notes & prices realized suggesting the original owner was present for the sale. Not found in OCLC as of 7/7/2022. Old folds shallow loss in the upper margin briefly affecting a few letters moderately foxed toned & soiled couple of nicks at fold intersects still an attractive example of a fragile broadside. Producing a significant portion of the armaments used late in the Civil War the Augusta Arsenal was not surrendered until May 3 1865. NP books
1849ref. 666Couverture rigide Chez Les principaux libraires et chez l'Auteur, Plainpalais, 386 1849 Genève 21x14 cm
