[DEVOTIONAL PRINTS].Biblio.com
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1800rif. ABC_49334Antwerp 1800. 16mo ca. 13 x 9.5 cm. Johannes Carolus Craen or his son-in-law Hendrik Leys Early 19th-century gold-tooled red sheepskin with a general title in Dutch lettered in gold on the spine gold-tooled board edges marbled endpapers gilt edges. 351 devotional engravings including 8 repeats printed on wove paper engraved by several 17th-century engravers printed from the original copper plates at the end of the 18th- or beginning of the 19th century. 351 ll. Intriguing and extensive collection of 351 devotional prints comprising ca. 16 print series and several separate engraved title pages of print series and some separate devotional prints. Each print shows a small engraving depicting a religious theme for almost every occasion and especially for the important days of the liturgical year. These prints were engraved and published in Antwerp which is considered to be the centre of production and publishing of devotional prints in the 17th- and 18th centuries. The majority of these praying cards were originally published by Franciscus Huberti or Frans Huybrechts 1630-1687 who seems to have been the first engraver and publisher to produce these types of works in Antwerp. He was mostly known for publishing so-called "gerijmde gebedsprentjes" rhymed devotional prints/prayer cards. After his death his plates were sold and used by others to republish the prints for example by Michiel Bunel 1670-1739 and later by Carolus Craen 1733-1799. Craen's plates were next used by Hendrik Leys d. 1853 not to be confused with the Antwerp painter Henri Leys. In 1805 Leys had married Craen's daughter and took over the publishing and printing business of his mother-in-law immediately after. He mostly continued publishing prints using older copperplates that were already part of the business since his father-in-law ran it and was one of the last printer-publishers to use copperplates in a time when lithography became more and more popular. At the end of his life Leys owned approximately 12000 usable copperplates made or sold by a whole host of 17th- and 18th-century engravers and/or publishers of devotional prints such as the Wierix-Barbé family Huberti Galle Van der Sande Bunel and the Van Merlen family. Cornelis van Merlen 1654-1723 was a publisher and engraver active in Antwerp. The Van Merlen family were important engravers and publishers of devotional engravings in Antwerp during the 17th- and 18th centuries. In 1687 he married Sara Maria Huybrechts who was the daughter of publisher and engraver Gaspar Huberti and Sara Voet and niece of the Antwerp engraver Franciscus Huberti 1630-1687 whose engravings make up the majority of the present work. The majority of the present work is most likely made up of Craen's or Leys' prints of the plates by Huberti Jacobus de Man Anton Wierix the Van Merlen family of engravers and others.A complete list of contents is available upon request.With a manuscript owner's inscription on the verso of the first flyleaf "Mimi Josephine Cogels 1822" a manuscript inscription on the recto of the second flyleaf "le 1er Avril 1822 1831" and some faint pencil annotations on the verso of the second to last flyleaf and the recto of the final flyleaf. The binding shows some slight rubbing the front joint is slightly weakened without any loss lacking the fore edge margin of the engraving of S. Gregorius no. 351 not affecting the engraving possibly lacking the 352nd engraving only a stub of paper remains possibly lacking the engraving of S. Ioannes Neponucenus by C. van Merlen a few leaves show minor marginal tears not affecting the engravings and with a brown stain on the final two flyleaves. Otherwise in very good condition.l Thijs A.K.L. Antwerpen: internationaal uitgeverscentrum van devotieprenten 17e - 18e eeuw Leuven 1993; Miscellanea Neerlandica 7 passim; cf. for the publishers see: https://archief.museumplantinmoretus.be/doc/au::108950 Huberti; https://archief.museumplantinmoretus.be/doc/au::109845:1 Craen; https://archief.museumplantinmoretus.be/doc/au::109887 Leys. unknown
rif. 221757T. Cadell Jnr and W. Davies The Strand London 1798. . 617 pp frontispiece map fold-out map numerous engraved plates list of engraved plates at rear very nice clean and tight copy bound in early nineteenth century half calf with gilt-lettered spine label. Includes many full page engraved plates of aboriginal tribal ceremonies including eye-tooth removal at male initiation ceremony etc. A supplemental volume was published in 1802 covering the period Jan. 1788 to Aug. 1801 however this present volume is the fundamental founding volume relating to the settlement of Australia. From the library of Selwyn Smith with his armorial bookplate and signature : "Selwyn Smith Sydney 1848. T. Cadell Jnr and W. Davies, The Strand, London, 1798. unknown
rif. 24061405Santa Rosa: Nawakum Press 2010. Limited Edition. Hardcover. Fine. Cranmer Keith. One of 20 deluxe copies quarto size 32 pp. signed by Robert Bly with extra print signed by Cranmer in a clamshell box. An early publication by the Nawakum Press run by the inimitable David Pascoe whose name has become synonomous throughout the world of fine press publishing with meticulous craftsmanship and design often paired with original art work by contemporary artists. As is stated on their web site "While incorporating the very best from the fine press tradition the Press also chooses to stretch the boundaries of the modern day book." This work presents fifteen poems by Robert Elwood Bly 1926-2021 renowned poet and activist who won the National Book Award for Poetry in 1968 for his book "The Light Around the Body". Per the prospectus "It has been said that Bly has taken on many roles among them groundbreaking poet and remains one of the most hotly debated artists of the past half century The psychologist Robert Moore has said that 'when the cultural and intellectual history of our time is written Robert Bly will be recognized as the catalyst for a sweeping cultural revolution.' " Presented with two original wood engravings by Berkeley artist Keith Cranmer who began engraving by hand in 1975. He "works on paper with drawing gouache ink and painting.his main interest is representational figurative drawing with at times a surreal edge" n.b. quote from the web site of the American Society of Bookplate Collectors and Designers. This one of twenty deluxe copies with a separate engraving in a wallet numbered and signed by Cranmer the engraving and book in a clamshell box. ___DESCRIPTION: Quarter bound in foil stamped rich brown leather with burnt orange Cave Paper over boards paper label on the front board with a wood engraving of the Indigo Bunting patterned endpapers the frontispiece a two-colour wood engraving both this and the engraving on the front board printed letterpress directly from the blocks title page in brown and black poem numbers and titles in brown signed by Robert Bly in ink at the colophon; monotype Walbaum on Hahnemühle Biblio quarto size 10 3/4" by 6 3/8" 32 pages limited edition this no. 9 of 20 deluxe copies total edition 100. Enclosed in a paper chemise is an engraving of the Indigo Bunting also used for the cover signed and numbered in pencil by Keith Cranmer. Both contained in a clamshell box of Japanese brown book cloth leather spine label with gilt lettering inset. ___CONDITION: Volume fine with clean boards straight corners without rubbing a strong square text block with solid hinges the interior is clean and bright and entirely free of prior owner markings; as new directly from the Press. Separate print and chemise also fine clean and without wear; clamshell box fine also clean and without wear. Overall a stunning production. ___POSTAGE: International customers please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. Nawakum Press hardcover
1691rif. D4443Amsterdam: Carel Allard 1691. Hardcover. Very Good. Oblong broadsheets 295 x 380. Lacking title-page and without the 22 pp. accompanying text. 20 large unnumbered engraved plates one with 4 separate scenes etched plates by HUGO ALLARD 4 signed I. VANDEN AVELE 2 signed and JAN LUYKENone signedone with 2-inch tear repaired some minor marginal wear. Original marbled wrappers old paper cover label; cloth folding case. VERY RARE print series illustrating the history of the ascension to the throne of WILLIAM III 1650-1702 and MARY II 1662-1694. The series begins with the Seven Bishops being brought to the Tower of London with a view up the Thames followed by the birth of the Prince of Wales on 10 June 1688 through the entrance of William and Mary into The Hague on 5 February 1691. The series contains several scenes devoted to the festivities surrounding their coronation in London on 11 April 1689. This set of the engravings correspond to Landwehr and appear to have been issued in its original binding without the text; the title-page may have been removed or was not included. Muller considered the 20 plates as a series although he had not seen a bound set with title and the text. Landwehr Splendid Ceremonies 143; Muller 2692. Carel Allard hardcover
1963rif. 33200Iowa City: Stone Wall Press 1963 Limited Edition in slipcase beautifully printed on Rives Heavy with interleaved illustrations on Mulberry paper one of 60 deluxe copies of a total print run of 330 bound in quarter leather and illustrated boards signed by both Roethke and engraver Roy this copy number X one tiny nick to leather at spine tail a beautiful copy of this justly-celebrated production printed by Kim Merker at the Stone Wall Press; from collection of Jenijoy La Belle who studied with Roethke at the University of Washington along with her close friend Tess Gallagher and the author of the influential book The Echoing Wood of Theodore Roethke; tall 8vo; 31 unnumbered pages and 12 engravings each on folded leaf; additional unnumbered engravings preceding title page & colophon. Signed by Author. First Edition. Hard Cover. Fine. Stone Wall Press hardcover
1963rif. 307320Iowa City: Stone Wall Press 1963. First Edition. Leather bound. Fine. A beautiful collection of poems printed by Kim Merker with illustrations printed on delicate mulberry paper bound in between. This book is generally regarded as one of the finest from the press which is known for the excellence of its letterpress printing and book design. The edition size was 270 copies of which this is one of 60 deluxe copies bound in quarter-leather and paper printed with an engraved design by Roy. These copies numbered with Roman numerals are signed by both Roy and Roethke who died soon after the printing was completed. Roethke won both the Pulitzer Prize and the National Book Award for poetry. First edition first printing deluxe issue. A fine copy no. XXX of 60 signed by Roethke and Roy. The publisher's paper-covered slipcase is beginning to split along the bottom edge. Stone Wall Press unknown
1771rif. 3835Three engravings by Paul Revere are certainly the most distinctive feature of this Boston almanac for 1772 namely: Miss Emma Leach a dwarf born in Beverley Massachusetts on front cover. The Patriotic American Farmer John Dickinson. Mrs. Catharine M'Caulay. Almanac making in colonial America was a rather unscrupulous affair at times. The notion of copyright was unknown among publishers. Indeed almanac piracy or perhaps liberal borrowing was the accepted industry practice. The present almanac offers an excellent example of heavy borrowing. The Boston Ames Almanack for 1772 was published in two versions: one by Ezekiel Russell and the other a pirated version by an unnamed printer/publisher. The text and images of the two are very similar although the cuts of the three subjects differ very slightly between the two almanacs. Paul Revere's daybook for December 1771 identifies two purchasers of plates for a 1772 Ames almanac Ezekiel Russell and Edes & Gill. Within a matter of a week it's apparent that Revere produced two sets of plates of the same subjects for competing almanacs. In an advertisement for Russell's version of the Ames almanac he "hopes that the publick with their usual impartiality will give him preference in buying of his Ames' genuine almanac before any pirated edition." Revere's contributions were in both the original and this pirated edition of the almanac. References: Evans: 11961; Drake Almanacs of the U.S.: 3205; Brigham Paul Revere's Engravings: pp. 202-203; Hamilton Early American Book Illustrators and Wood Engravers: 56; O'Neal Early American Almanacs: 115 mistakenly citing Russell as publisher. Condition: Disbound; leaves are separated with a later paper reinforcement in the gutter of two leaves. Chipping to lower corners of two leaves. Scattered mostly light staining and a few spots of foxing. Good. ICN 7815. [Printed by T. & J. Fleet and Edes & Gill. Price 2s. 8d. per dozen, and six coppers single. ]
1700rif. 229131700. Cross-DressingWomen Military Joan of Arc engraving archive depicting the French military leader and martyr Jeanne d'Arc in iconic images of battle persecution and faith ca. 1770-1850s. The prints focus on Joan's leadership during the Hundred Years' War and on the gender-bending aspects of her identity and dress that contributed to her 1431 trial for heresy. Particular attention is given to her appearance in armor while directing troops or appearing before political authorities. These visual depictions emphasize Joan's adoption of male military clothing an attribute which has lead modern scholars of LGBTQ history to celebrate the saint as a queer and proto-transgender figure. Archive of eight engravings and proof impressions executed primarily in copperplate and steel engraving processes during the eighteenth and nineteenth centuries. The images depict several key episodes associated with Joan of Arc's historical narrative including portraits showing her wearing armor and holding a sword scenes of military command in which she appears mounted or directing troops and representations of her recognition by Charles VII and entry into the city of Orléans. A prison scene portrays Joan during captivity prior to her execution in 1431 emphasizing the moment when her continued cross-dressing became a major point of contention during her heresy trial. Several engravings were produced for historical publications and illustrated histories circulating in the eighteenth and nineteenth centuries including editions associated with François Guizot's History of France reflecting the renewed interest in Joan of Arc as a figure of national history. Archives includes: 1 Engraved for J. Sydney's History of England. The Maid of Orleans Receiving the Sword of St. Catherine. England c.1770-1820. A fine copper engraving framed within an elaborate Rococo border showing Joan receiving the sacred sword of St. Catherine an episode derived from medieval hagiography rather than strict historical documentation. Joan is mounted on horseback surrounded by armed men and clergy with a fortified tower rising behind her. The ornamental border and English publication context reveal the 18th-century Protestant fascination with Joan as a paradoxical figure: a warrior-prophetess both admired and viewed with suspicion. 2 Anonymous Artist. Va va fille de Dieu; délivre la France! Vision Scene. France c.1820-1850. A preparatory hand panciled engraving proof depicting Joan of Arc's divine revelation framed within penciled border guidelines. An angel descends from the clouds carrying a banner while pointing downward toward Joan who kneels in astonishment as cherubs hover above. The inscription "VA VA / FILLE DE DIEU / DELIVRE LA FRANCE!" anchors the scene as an allegory of Joan's heavenly mandate. 3 Henry Richter after. Joan of Arc Recognizes the King. London: The London Printing and Publishing Co. mid-19th century. A steel engraving portraying Joan's revelation of Charles VII at Chinon the pivotal moment when she identifies him despite his attempt at disguise. The richly detailed crowd scene and Gothic architectural setting emphasize both spectacle and legitimacy visualizing Joan as divinely guided rather than politically manipulated. 4 G. Greatbach engraver; after a painting by J. Opie R.A. Joan of Arc Declaring Her Mission. London: The London Printing and Publishing Co. Ltd. mid-19th century. Joan is shown making a dramatic gesture as she proclaims her mission before astounded soldiers and clergy. The engraving captures the tension between gender expectations and prophetic authority: Joan's outstretched arm determined expression and illuminated figure contrast with the skeptical figures behind her. 5 E. Scriven engraver. Joan D'Arc. London: H. Moore Sons & Co. mid-19th century.An engraving presenting a romanticized half-length portrait of Joan of Arc in armor holding a sword upright while gazing serenely into the distance. Behind her appear faint bystanders rendering her both an individual and an emblem of national deliverance. 6 Entry of Joan of Arc into Orléans. From Guizot's History of France. Paris/London c.1840s. A sweeping steel engraving of Joan riding triumphantly into Orléans accompanied by monks soldiers and citizens. The composition foregrounds her as a mounted military leader sword raised while crowds kneel and look upward in awe. Johannot's design visualizes Joan as a unifying national leader. 7 G. Stodart engraver; after H. E. Selous. Joan of Arc and Charles. London: Virtue & Co. mid-19th century.A dramatic steel engraving showing Joan standing beside Charles VII directing his attention toward the field of battle. The caption references their military collaboration. The interplay of armor banners and a stormy sky underscores Joan'smilitary might. 8 T. Brown engraver; after E. Corbould. Joan of Arc in Prison. London: The London Printing and Publishing Co. mid-19th century. A somber interior scene depicting Joan in captivity clasping her hands as guards and clergy surround her. Corbould emphasizes her steadfastness and the emotional gravity of her final days. Produced for an illustrated royal history King Henry the Sixth the image cast Joan as a martyr of conscience. In recent decades scholars in LGBTQ history and gender studies have increasingly examined Joan of Arc as a proto-queer icon who challenged traditional ideas of gender identity and expression. Medieval trial records document that Joan consistently wore male military clothing during her campaigns and continued to wear such clothing during imprisonment a choice that became a central accusation in the charges brought against her in 1431. Some historians and queer theorists have interpreted Joan's refusal to abandon male dress even under threat of execution as evidence of a personal gender identity that did not conform to contemporary expectations for women. Joan of Arc has been cited as an example in Medieval history of an individual navigating queer identity long before the modern understanding of terms like trans non-binary or genderfluid. Light toning and mild foxing to some edgewear and staining present to some margins. Prints are clear and paper crisp. Overall very good condition. A compelling and diverse archive of eight Joan of Arc engravings and artistic proofs representing two centuries of European historical illustration and devotional imagery. The collection captures Joan's transformation from medieval visionary to modern nationalist and feminist icon. unknown
1786rif. 376505Venezia 1786. Ora la prima volta con le stampe pubblicate. Engraved title page with vignette. Engraved Title portrait and 24 leaves of plates XIII page of text. Frontispiece & 15 engraved plates. 1 vols. Folio. Quarter morocco and green boards. Binding showing signs of wear. Interior with light foxing but overall Near Fine. Bookplate of C. W. H. Sotheby. Ora la prima volta con le stampe pubblicate". Engraved title page with vignette. Engraved Title portrait and 24 leaves of plates XIII page of text. Frontispiece & 15 engraved plates. 1 vols. Folio. Including engravings after the works of great Venetian Renaissance painters Giorgione Titian Tintoretto Zelotti and Veronese. With Titian's frescoes for the exterior of the Fondaco dei Tedeschi in Venice which have since perished. Also with engravings after the great draftsman Parmigianino. Antonio Maria Zanetti is known as a printmaker for his contributions to the style of chiaroscuro woodcuts as well as for his career as an art dealer and collector. Girolamo Francesco Zanetti was a historian and philologist known for being the first to publish one of the oldest Venetian chronicles the Chronicon Altinate. OCLC 272605179. Provenance: Bookplate of C. W. H. Sotheby d.1887 of Ecton Hall Northampton England unknown
rif. 009237Los Angeles: Zeitlin & Ver Brugge Booksellers 1974. Book. Fine. Hardcover. SIGNED AND INSCRIBED BY PUBLISHER. Limited and Numbered First Edition. 8vo - over 7¾" - 9¾" tall. #105 of 120 copies printed by Saul & Lillian Marks at The Plantin Press Los Angeles completed April 1974. "The entire edition subscribed for by Jacob Israel Zeitlin & Josephine ver Brugge Zeitlin." Association Copy SIGNED AND INSCRIBED BY PUBLISHER at colophon page "for Gary Jake". From the collection of Gary Steigerwald at the time of publication a young bookseller working for Jake Zeitlin. In lovely Max J. Adjarian binding his small label to upper left corner of front pastedown of quarter brown morocco over patterned paper boards.and complementary custom clamshell case of quarter brown morocco over grey buckram boards with beige felt lining stamp-signed "Frank Burton". Both are Fine. SCARCE Association Copy. Zeitlin & Ver Brugge Booksellers, Hardcover
1700rif. 18867Utrecht: Anthony Schouten; Hermannus Ribbius 1700. Second edition. Hardcover. g to vg. Folio 15 6/8 x 10 2/8". 42 844 36pp Index 4 845-1716 36pp Index. Text in Dutch. Contemporary blind-stamped vellum with gold lettering and tooling to spines. Raised bands. Additional engraved allegorical titles by Gilliam van der Gouwen after Wilhelmus Goeree and Philip Tideman. Title pages in red and black lettering. Decorative initials. Originally published in 1690 this work is an extensive encyclopedical study of Jewish Biblical life and times and of the Ancient Near East incl. Egypt. This complete two-volume set is embellished throughout with no less than 87 engraved plates including 29 folding and 36 in-text engravings. The magnificent engravings depict numerous Biblical scenes as well as the ancient coins of the period; the Enoch Hebrew Assyrian Phoenician Egyptian Copte Armenian and Chinese alphabets; astronomical observations; views of Jerusalem; scrolls and writing instruments; the first 13 Assyrian kings; footwear in Antiquity; mosaic floor tiles; Solomon's Temple etc. Moderate and sporadic rubbing along edges. Gold partly and slightly faded on spines. Light and minor water-staining along margin of very first leaves in first volume. Title page remargined not affecting text. Front free endpaper fly-leaf additional engraved title and title of second volume slightly and partly chipped along edges not affecting text or illustration. Very minor and sporadic foxing/age-toning throughout. A nearly fine amply-magined copy with clean plates throughout. Anthony Schouten; Hermannus Ribbius hardcover
1733rif. 140941304London: Aeneis Tabulis Incidit Iohannes Pine 1733. First Edition. Near Fine. 1733 1737. Two volumes. First edition first issue with "post est" error in the Caesar medallion on page 108 of Volume II. In a lavish full brown morocco binding with five raised bands and ornate gilt stamping to spine borders on covers wide turn-ins and beautifully patterned endsheets; all edges gilt. Near Fine with a light amount of rubbing to joints spines lightly faded a scuff to the front cover of Volume II and small former owner bookplates of noted collector Abel E. Berland to the front pastedowns. Pine's Latin text was based on Talbot's 1699 edition and is remarkable for being entirely illustrated with engraved copper plates throughout the text. Aeneis Tabulis Incidit, Iohannes Pine unknown
1992rif. DEMO006065IStatesboro GA: The Boxwood Press 1992. First Limited edition. Hardcover. Fine. In a mahogany and copper scroll case with vertical slot and hidden crank handle; with a protective velvet cloth Only 16cc.Remarkable bilingual presentation / re-interpretation of this Biblical work placing it in the the Reagan / Bush era. Illustrated with 16 color etchings by Bernard Solomon the translator and etcher. He realized there were remarkable parallels between the Biblical story of Esther and that of Anita Hill Clarence Thomas and the U.S. Senate Judiciary Committee. This interpretation unfolds sequentially as each leaf is unrolled from the 33 in. high scroll holder. The body of the scroll holder is one of the original copper plates used for the etchings which is why it is limited to an edition of only 16. The top and bottom of the handcrafted minaret-style case is finely shaped and polished mahogany by Anthony V. Mann. Designed with a hidden crank to rewind the scroll into the case. Altogether remarkable! The Boxwood Press hardcover
rif. 112186n.p. n.d. eighteenth century circa 1750. . A suite of four original hand coloured engravings titled in Spanish and French La Manna Le Matin; El Mediodia Le Midi; Eldespues de Comer L'Apres Diner and Le Soir La Tarde each approx. 50 x 68 cm modern gilt frames. An exquisite suite of four eighteenth century conversation piece engravings in the rococo style showing the nobility at leisure dining and dancing outdoors in a bucolic setting. Each image is beautifully set within delicately coloured scrolled borders featuring flowers foliage leafy tendrils and fruit. These prints capture the privilege and lifestyle of the aristocracy and are typical of French decorative art in the early to mid eighteenth century. n.p., n.d. [eighteenth century, circa 1750]. unknown
1916rif. 898711916. Seitei KachÅ çœäºèŠ±é³¥ Prints Bird and Flower Watanabe Seitei 渡辺çœäº also ShÅtei artist Tokyo: Okura Shoten Okura Yasugoro Taisho 5 1916 Brown cloth clasped portfolio 28.2 x 38 cm. A complete collection of the 22 color prints the preface and table of contents page 24 sheets in all with a colophon label on the inside of the rear cover. A wonderful production in color woodblock of the work of the important artist Watanabe Seitei 渡辺çœäº 1851-1918. Okura Shoten was also the publisher of Seitei's other two books the 3 volume Seitei KachÅ Gafu çœäºèŠ±é³¥ç”»èœ of 1890-1 and the KachÅ Gafu 花鳥画譜 of 1903 but this portfolio is by far the rarest of all his works. Prints from the series are seldom seen and much prized complete sets like this one are vanishingly rare. After studying under Kikuchi YÅsai èŠæ± 容斎 1788-1878 also known as Kikuchi Takeyasu and Kawahara RyÅhei and established artist Shibata Zeshin 柴田是真 1807-1891 in his youth he traveled to Europe in 1878. One of the early practitioners of the Nihonga 日本画 style of Western-influenced traditional painting he is primarily known for his work with bird and flower subjects which he revolutionized with his delicate and playful ability to capture the reality of color plumage and other details. Overall the condition of the covers is quite good and the prints are well printed. The heavy paper on which the prints are mounted are a bit toned but the prints themselves are quite good and clean with wonderful colors and impressions. A cornerstone of any Japanese bird and flower collection. Enclosed in a custom clasped cloth box. unknown
rif. 10427Berkeley CA: Editions Koch 2003. Full Leather. Fine binding. Folio. 44 pp. frontis plates. Limited edition one of 120 copies this copy out of series; there are also 26 lettered deluxe copies with a suite of 10 engravings. All are signed by Bringhurst Wagener and Peter Koch at the colophon. Bound by Camille Botelho in black box calf with inlays and onlays of dyed calf vinyl snakeskin painted paper mylar laminates and a porcupine quill; hand embroidered endbands; vinyl snakeskin doublures. A fine copy in clamshell box. True to form Peter Koch has produced a marvelous edition of what remains of Parmenides's poem "On Nature." The fragments of the poem are rendered in this opposite page bilingual edition with the Greek on the left and Bringhurst's English translation on the right. The poetry is brilliantly accompanied by Wagner's striking engravings a frontispiece and 4 additional wood engravings in red and orange. Given it survives only in fragments there is some debate as to the "meaning" of the symbolism of Parmenides's poem making it a work ripe for interpretation. But at base his view of reality is one of stasis unchangeable. And while that enduring Greek logic marks the work Wagener introduces remarkably abstract and kinetic illustrations printed in an urgent deep red and orange-projecting anything but stasis. It is the discord between the logical understanding or reality and the emotional understanding of it that spoke to Botelho and informed her design of this incredible binding. She writes: "In the design I thought of Parmenides looking out past shadowy arches from within a dark room to find total chaos beyond. The curve of the Mylar inlay and the curve of the porcupine quill mimic a column marking a threshold beyond which is uncontrolled noise and movement and mess. I wanted the disparity between the smoothness of the box calf and the chaos of the inlays and yellow foiling to be a comment on how frightening examining one's reality can be." Magnificently achieved Botelho has created an exceptional binding that bridges Parmenides and Wagener giving voice to the paradox she sees in this metaphysical conversation on the nature of reality. Editions Koch unknown
1900rif. 1421261900. JAPANESE ORNAMENTAL WOODBLOCK PRINTS. Bijutsu Kai. Collection of Pictures Regarding Colour Designs for Japanese Textiles Costumes. Five parts in one volume. Five folding plates and 18 full-page coloured woodblock prints per section for a total of 95 original illustrations. 8vo 232 x 160 mm. bound in Japanese accordion style with Japanese fold pages and silk-thread stitched spine in new linen cloth folding box with leather spine label. Kyoto: Geisodo ca. 1900. A superb set of this important compendium of early Japanese textile designs showing a great variety of patterns and scenes. The woodblock prints are often exceptional Japanese images very much in the wabi-sabi tradition. Not in Hillier The Art of the Japanese Book 1987. hardcover
1609rif. 18688Text in Latin. 2nd enhanced edition. Black straight-grain morocco leather over bevel-edge wood boards; gilt ruled frames on covers; brass clasps at fore edge; gilt title and rolls on spine; French Stormont pattern marbled end papers; two color print throughout; large font throughout; woodcut decorative drop-cap initials throughout. Clean covers and spine; front cover detached; light edge wear somewhat heavier at cover fore corners; brass clasps are intact and VG condition; rear cover spine and text block are tightly bound; lacking Title Page and 3 other prelim leaves ll. 7 8 1 and 4 interior leaves including 4 plates pp 56 250 264 314; ll. D4b Q5b R4b V5b; 53 intact full page copperplate engravings and 35 of 38 1/3 page engraved tailpiece vignettes range from Good but light to Fine though 1 plate has light ink attempt to cover angels privates p. 662; l. Tt1b; few light smudges interior otherwise very clean. Note that leaf 7 is lacking which has dedication or honors the pope; catchword at tail of l. 6b is 'PAV' indicating Pope Paul V 1605-1621 on missing leaf rather than Clement VIII 1592-1605 as in some copies. 23 x 17 cm; 696 pp. Antverpiae (Antwerp): Ex Officina Plantiniana, Apud Ioannem Moreti (Plantin-Moretus Press) hardcover
1960rif. 140946279New York: Tiber Press 1960. First Edition. Fine. First edition. Complete in four folio volumes each measuring 17½" x14¼". Each volume with three full-page color silkscreen prints and additional prints at title page and upper cover original cloth-backed illustrated boards. First Edition. No. 77 of 200 copies. Each volume signed by the poet and artist on the limitation page. A Fine set bright and sharp in publisher's thick acetate jackets housed in cloth slipcase with trivial shelf wear. A visionary collaboration between the leading lights of the New York School of poetry and four second generation abstract expressionist artists produced at the height of their creative collective powers. A heady encapsulation of the New York literary and visual avant garde at the dawning of the '60s. Tiber Press unknown
1960rif. 140940127New York: Tiber Press 1960. First Edition. Fine. Complete in four folio volumes each measuring 17½" x14¼". Each volume with three full-page color silkscreen prints and additional prints at title page and upper cover original cloth-backed illustrated boards. First Edition. No. 47 of 200 copies. Each volume signed by the poet and artist on the limitation page. A Fine set bright and sharp in publisher's thick acetate jackets housed in cloth slipcase with light shelf wear. A visionary collaboration between the leading lights of the New York School of poetry and four second generation abstract expressionist artists produced at the height of their creative collective powers. A heady encapsulation of the New York literary and visual avant garde at the dawning of the '60s. Tiber Press unknown
1630rif. ABC_49153Flanders and Paris: various publishers 1630. Several prints are tipped into a 19th-century elaborately gold- and blind-tooled brown morocco album a blind-tooled ornament in the centre of both boards with the crowned initials J.B. on the front surrounded by a double fillet frame with elaborate corner pieces gold-tooled board edges and turn-ins gilt edges white watered silk endpapers. The work is housed in a 19th-century marbled slipcase with a paper label with the name of Countess Julie Visart de Bocarmé mounted on the front. The remaining prints have been tipped onto a sheet of sturdy paper inserted into a clear plastic file folder which are loosely inserted into a 19th-century elaborately gold- and blind-tooled purple morocco album with the word "album" lettered in gold on the front surrounded by a blind-tooled Gothic style border and an elaborate gold-tooled border gilt edges black watered silk end papers. Oblong folio ca. 29 x 42.5 cm; sheet size ca. 12 x 9 to 35 x 23 cm. With 24 contemporary hand-coloured engravings of which some heightened with gold 1 contemporary hand-coloured woodcut illustration 1 chromolithographed print 7 watercolour drawings including 2 on vellum 3 silk embroidered prints in various sizes and 1 image made of paper ornaments glued onto black netting. Further with a folded alphabetical list of the Antwerp printers and engravers of devotional prints in a 19th-century hand tipped onto the first leaf of the album. 2 volumes. Remarkable collection of 37 devotional prints and drawings including fifteen printed on vellum and two "clad" prints. The majority of the prints and drawings were made in the 17th and 18th centuries but a small number of 19th-century examples are also included. The prints all depicting Catholic saints and scenes are decorated using a wide variety of techniques. Most are hand coloured and heightened with gold but several are clad in fabric embroidered cut out to resemble lace sometimes backed with coloured paper or metal foil to highlight the cut-outs and one was made by gluing paper ornaments onto black netting. The present collection which was owned and probably compiled by the Belgian Countess Julie Alexandrine Marie Josèphe Visart de Bocarmé 1823-1862 not only offers a fascinating sample of popular print culture in Flanders but also highlights the creativity of both the makers and users of these prints.Devotional prints served as visual aids to private devotion and could also be used by those unable to read. They were often bought and decorated by women. The present prints were mainly engraved by 17th- and 18th-century Flemish printmakers such as Cornelius de Boudt 1660-1738 Michiel Cabbaey 1660-1722 Guillaume Collaert ca. 1595-ca. 1651 Lodewijk Joseph Fruytiers 1713-1782 Jacob de Man ca. 1643-1719 and Theodoor van Merlen III 1661-1749. In contrast to most examples of this genre most of the present engravings are printed on vellum and beautifully coloured by a contemporary hand partly heightened in gold for the halos of the saints. The prints include biblical scenes showing Christ on the Cross Joseph Mary the Apostles and John the Baptist. The majority of the prints depict portraits of Catholic saints such as Anthony of Padua 1195-1231 Apollonia of Alexandria d. 249 Dorothea of Caesarea d. ca. 311 Francis of Assisi ca. 1181-1226 Francis Xavier 1506-1552 Helena of Constantinople ca. 246-330 Peter of Alcántara 1499-1562 and Rosalia of Palermo 1130-1166. A complete list of contents is available upon request.With the initials of Belgian Countess Julie Visart de Bocarmé stamped in gold on the front board and her manuscript ownerships label Julie Visart de Bocarmé Baronesse G.v.Z.v.N. mounted on the front of the slipcase. Further with the printed label of Cabasson Successeur de Terzuolo-Despilly Papetier du Roi Rue de la Chaussée dAntin No. 15 mounted on the verso of the first flyleaf of the brown album all prints and drawings have been tipped onto a white sheet of paper with a manuscript collection number at the top. The boards are slightly rubbed and scratched. The first few leaves of the purple album have been removed to make space for the collection. The prints and drawing show traces of use with some browning and occasional creasing soiling or foxing. The edges and corners of the slipcase are scuffed and the lower right corner of the paper label is torn off. Otherwise in good condition.l Cf. K. van den Bergh Bidprentjes in de Zuidelijke Nederlanden 1975; J.A.J.M. Verspaandonk Het hemels prentenboek. Devotie- en bidprentjes vanaf de 17e eeuw tot het begin van de 20e eeuw 1975. various publishers, hardcover
1939rif. SPENDERS007080Atelier 17 Paris & New York. March 1939. First edition. Octavo. Spender's poem ''Fall of a City'' and Louis Aragon's translation ''Chute d'une Cit�'' together with nine engravings loose within wrappers. The engravings were printed by Atelier 17 and Henri Hecht and include one with aquatint and roulette one with soft ground etching one drypoint and one etching. All are on Montval handmade paper with deckle-edges. Held within the original plain board chemise but lacking the slipcase which had a Hayter titling-piece pasted onto the front. Stanley Hayter founded Atelier 17 in Paris in 1927 and it continues to this day in Rue Didot albeit with the name changed to Atelier Contrepoint. This production was his contribution to the raising of funds to help children orphaned by the Spanish Civil War.101 numbered copies were printed for sale and 12 for the contributors. This copy is unnumbered and hors commerce marked ''h.c'' on the limitation page. Each copy including this one was signed by Spender and Aragon at their respective contribution and by each artist in the lower margin of the etched sheet.Fine in custom burgundy morocco box with ''FRATERNITY'' in gilt on the lid. Very scarce with all nine loose etchings as most sets have been broken up for piecemeal sale. Atelier 17, Paris & New York. March, unknown
1550rif. ABC_49514Italy 1550. 17th-century gold-tooled brown calf sewn on 6 supports with the corresponding raised bands on the spine a red morocco title label on the spine with the title "Novissima urbis Romae descriptio" lettered in gold gold-tooled board edges. Large oblong folio ca. 59 x 42.3 cm. With 76 full-page engravings and 12 full-page etchings. Remarkable album with 77 beautiful examples of 16th-century Italian cartography all in very fine dark impressions. The collection includes plans of important Italian towns such as Rome Venice Genoa Naples Milan Florence Palermo Siena Bologna and Pisa as well as detailed views of individual buildings and monuments in Rome. They are engraved by several cartographers from the school of Antonio Lafreri 1512-1577 primarily Claudio Duchetti d. 1585 Matteo Florimi d. 1613 and Lafreri himself. Florimi's works are among the rarest of the Lafreri school map makers especially his Siena imprints of which several have here been included.In the middle of the 16th century Italy was the centre of map production and distribution in Europe. This industry primarily took place in Venice and Rome. The most notable of the publishers in Rome was Lafreri. His most important and most popular work is the Speculum Romanae magnificentiae a collection of plans an views of Rome's monuments; no two copies of the Speculum are the same. The present collection contains more than thirty plates from the Speculum. When Lafreri died his nephew Claudio Duchetti inherited the company. He continued to produce the Speculum plates but often made small adjustments and signed his own name at the bottom. Most of the Speculum plates in the present album are by Duchetti. After his death the copperplates were sold to other publishers such as Giovanni Orlandi before 1590-after 1640 who reissued them. The majority of the plates in the present album were printed by Orlandi in 1602.The album further contains 32 engraved city plans mostly of Italian towns although a few foreign cities are also included; one of the rarest is the view of Moscow which is also included here. The collection ends with a incomplete series of 11 etchings of landscapes and biblical scenes.A list of contents is available upon request.With the bookplate of Louis Routy de Charodon seigneur de Grésigny and Charodon 1710-1794 on the front pastedown and remnants of another bookplate above. The boards are somewhat scratched and stained the spine shows traces of use the edges of the boards have been professionally restored and the boards have been lengthened to fit the maps. The maps are slightly browned some are slightly foxed the first few maps have been mounted onto 17th-century leaves the longer maps are somewhat soiled on the fore edge three maps are restored at the fore edge and one at the bottom edge some maps have been cut slightly short. Otherwise in good condition.l Cf. Parshall P. "Antonio Lafreri's "Speculum Romanae magnificentiae"" in: Print Quarterly vol. 23 1 2006 pp. 3-28. hardcover
