1929réf. 144150Paris, G. Van Oest 1929 In-8 23 x 14,5 cm. Reliure demi-chagrin violine à coins, dos lisse, couvertures conservées, 29 pp., 32 planches hors-texte, catalogue. Exemplaire en bon état.
1920réf. 73138Lucien Vogel éditeur | Paris 1920 | 18 x 24 cm | une feuille
13 original drawings in various techniques: pencil, watercolour, gouache, and ink on paper. Mostly captioned in German (and a few in Italian), mounted on 12 leaves of coloured paper bound in an album. Contemporary red morocco, both covers plated with relief-stamped luxury cream paper, splendidly ornamented with the arms of the British monarchy and the City of London, bordered with gilt floral dentelle; central compartments calligraphed in red and gilt: "Louise" / "30. Mai 1857". White moirée endpapers. All edges gilt. A splendid album of ethnographic portraits, possibly intended as templates for the nine-year-old Princess Louise, Duchess of Argyll (1848-1939), the sixth daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha, and like her mother a highly accomplished artist at an early age. The meticulous and detailed drawings show representatives of various peoples of the world, some in half-length and others in full figure, mostly captioned in a German hand: three Australian Aborigines ("Neuholländer", "Vandiemens-Länder" [from Tasmania], "Aramanga" [from Queensland]), two native Americans from North America ("Nordamerikaner", "Eingeborener vom Oregon"), a Filipina, a Hawaiian, an Indian Brahmin, two orientals (a tea-seller and a scribe), a female African slave, a mongolian ("Sifan"), and another, unidentified Asian. All pictures would appear to be copied from 19th century travel publications; three are obviously based on plates from James Cowles Prichard's "The Natural History of Man" (London 1843). - Album's corners lightly bumped; paper and paints clean and crisp throughout. Other early drawing and scrapbook albums compiled for or by Princess Louise are kept in the Royal Collection.
réf. 11447Librairie Damascène Morgand - Edouard Rahir, successeur. 1912. Grand et fort in-8°, reliure pleine percaline verte, couverture conservée. XXI + 919 pages. E.O. 1/17 exemplaires de présent (sur vergé de Hollande, non rogné). [50 exemplaires d'auteur / 300 exemplaires numérotés / 17 exemplaires de présent]. Envoi autographe de l'auteur. Très bon état.
réf. 20184Sofia, Bulgarski Houdozhnik publishers, 1990. In-plano, 8 pp. + 30 pl., en feuilles, emboîtage éditeur illustré (taches à l'emboîtage).
13 ff. of coloured pencil drawings, numbered 3-5, 8, 15-16, 18-20, 2[1] (?), 22, 31 and 32. About 22 x 16 cm each, matted. Curious collection of obscene watercolours, apparently a product of the Austrian Biedermeier period. Three drawings poke fun at the then-famous vaudevillian athlete, juggler and balance artiste Rappo (the Innsbruck-born Karl von Rapp, 1800-53), giving quite a new meaning to the term "show business". Others employ the setting of a trade fair, depicting the city harlots preparing for work and travelling salesmen in pursuit of lewd entertainment. While nearly all drawings are accompanied by tongue-in-cheek couplets, one has no caption, and another is simply entitled "table-tipping" (not the séance kind). In the circus drawings, Rappo's name was first obscured as "R. Appo" and then - rather crudely - changed to the familiar spelling. - A fine, well-preserved collection, apparently a substantial part of a formerly larger set.
réf. 1364Sans date : vers 1860-1880. 51 RARES CARTES À ILLUSION OPTIQUE OU CARTES MAGIQUES
réf. AQ20609London and Stuttgart Und Tubingen: J. H. Bohte and in der J.G. Cotta'schen Buchhandlung 1824 and 1823. Three volumes within publisher's folder with paper title label. 10; 4 11pp 1; 8 full-page engravings. Two text volumes sewn with small cloth strip glued to spine the plates stitched as issued. Occasional spotting. The beautifully illustrated first illustrated edition of Schiller's 'Fridolin or the Road to the Iron Forge' - a ballad which the German poet Schiller 1759-1805 composed for a poetry competition against Goethe in 1797 with the text volume of the parallel German-English edition published in London by Bohte ‘foreign bookseller to his majesty’. The engravings by Moritz Retzsch 1779-1857 German painter and draughtsman were much praised: accompanied by the illustrations the ballad 'assumes a new and more exalted character' provided by Retzsch's ability to give them 'an airy dimness that softens what is beautiful and deepens all that is terrific' Monthly Review 1825 p.522. OCLC locates a single copy in the British Isles BL and three in North America. . Oblong quarto. J. H. Bohte [and] in der J.G. Cotta'schen Buchhandlung, 1824 [and] 1823. hardcover
1959réf. 511Cleveland Ohio: The Cleveland Museum of Art 1959. 20 prints 7.25"x9.75" in a brown trifold portfolio. Good. Rubbing folder dog ear to print I. Twenty prints from the original artist's proofs of Durer's woodcuts owned by the Cleveland Museum of Art there are doubles of print XX. The Cleveland Museum of Art unknown
1883réf. 56228Paris: P. Roquette Librairie 55 Passage Choiseul 55 1883. 4to. 9.25 x 12.5 in. 4 vii 1 34 pp unpaginated. Engraved frontisp. w/ tissue guard including 16 engravings. Original printed softcovers preserved in contemporary three-quarter morocco over marbled boards binding by Enry - Jose Pierson t.e.g. minor scuffing edgewear light wear to corners still VG copy w/ interior in NF condition. First edition thus of this beautiful series of engravings wonderfully executing Scarron’s picaresque novel relating the occasionally ribald adventures of a company of strolling players. Tiburce de Mare was a noted French portrait painter and engraver and son of Johannes de Mare who frequently contributed to the Gazette des Beaux Arts. P. Roquette Librairie, 55, Passage Choiseul, 55, paperback
réf. 1389s. d. [vers 1831]. LITHOGRAPHIE, PORTRAIT DE NAPOLÉON
1 S. Mit einem Kupferstich (ca. 12 x 17 cm). 4to. Hübsches Neujahrsblatt eines Laternenwächters. Der Kupferstich zeigt wohl Christoph Weiß in Ausübung seiner Tätigkeit beim Nachfüllen von städtischen Laternen mit frischem Talg (Klauenfett). Darunter ein Neujahrsgedicht in zwei Spalten: "Heunte kommen grosse Hauffen | Für die Thüren hergelauffen | Wünschen uns ein Neues Jahr. | Da das Fenster kaum geschlossen, | Und ein Augenblick verflossen, | Meldt sich schon ein neue Schaar. | Hat der Thorner sich verschlichen, | Kommt der Wächter angestrichen | Nebst den Hörnleins-Wächter her. | Schlott- und Brunnen-Feger wollen | Kommen auch Neu Jahr zu holen | Weil es ist ein alte Mähr. | Ballenbinder und Feldwebel | Und bey theils auch die Constäbel, | Zeigen sich nach ihren Brauch. | Auch der Pritscher mit der Trommel | Machet ein Neu Jahr Getrommel, | Ja die Haupt-Wacht find sich auch. | Solt ich nun bey solchen Sachen | Mein Aufwartung nicht auch machen, | Zum Neu Jahr was bitten aus, | Der ich hab so vieles Oele | Ein halb Jahr auf meiner Seele, | Lampen, Tacht, in meinem Hauß. | Jezund will ich auch anfangen, | Da ein Jahr ist hin gegangen | Daß ich diese Sorge trag. | Gott erhalt die werthen Männer, | Und den hoch lateinschen Gönner, | Die drauf dachten Nacht und Tag [...] Denn will ich auf meiner Leiter | Mein Amt warten treulich weiter, | Daß kein Garn nicht wird versehrt. | Mehr, ich will zu jeden Nutzen | Fleißig gehen, um zu butzen, | Holten die Laternen rein. | Ja ich will in meiner Hütten, | Sonst kein Tropffen Oel verschütten | Als nur zum Salat allein [...]". - Vereinzelt kleine Braunflecken; leicht knittrig.
232:172 mm (size of plate), mounted on cardboard (330:250 mm).
Plan view, semi-bird's-eye perspective, with key. 465 x 340 mm. Framed and glazed. Rare view of Cairo, based on the view in the "Civitates orbis terrarum" by Braun and Hogenberg. - Matteo Florimi, a student of A. Lafrery and C. Duchet, moved to Siena in 1581, where he worked as a publisher and dealer in books and prints, often for A. Carracci, C. Galle, and P. de Jode. - A longish tear to the left edge, touching the image (ca 20 cm), trimmed to the borders, smoothed creases.
1810réf. 8165Philadelphia: Johnson & Warner printed by J. Bouvier 1810. Hard Cover. near Very Good binding. 16mo 32 pp. frontis plates. Early reprint. As issued stitched into stiff paper covers with frontispiece and 5 additional inserted plates. Cover is light rubbed; some separation where the cover hinges at the stitching but the cover remains fairly stable; light foxing throughout. This is one of two 1810 imprints of this title the other Shaw & Shoemaker 19993 is self styled the "First American from the Second London Edition" and is sold by Wm. Charles and printed by W. McCullouch in 1810. While both Welch and Shaw & Shoemaker list this present edition by Johnson & Warner first it would stand to reason that the Charles edition is in fact first as this present edition has a title page dating publication at 1810 but the cover title is dated 1811. Nevertheless an early edition of this scarce title by Dorset who was "the younger daughter of Nicholas Turner and the sister of Charlotte Smith also a famous author. She wrote several books for children which were all published anonymously" Rosenbach 438. Shaw & Shoemaker 19992 & 22717. Welch 297.1; Cotsen 1813. Johnson & Warner | printed by J. Bouvier unknown
4to (ca. 173 x 233 mm). Engraved portrait. Executed by the French engraver and publisher Baltasar Moncornet (1600-68), the portrait shows Osman, the son of Sultan Ibrahim I, who was captured with his mother by the Maltese fleet in 1644 and educated by the Knights of Malta to become a Dominican friar. As an adolescent he was baptized and adopted the name Dominique de Saint-Thomas on 23 February 1656. He studied in Naples and Rome and went to Paris in 1664, where he spent two years. In 1667 he travelled to Candia on Crete, a Venetian-ruled city besieged by Ottoman forces since 1648, on an unsuccessful mission to convince the latter to make peace. Appointed vicar general on Malta around 1669, he returned to the island, where he spent his final years. - Slightly foxed.
1630réf. 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
1800réf. 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
réf. 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
1748réf. 1046453[I+II] Frankfurt/Main, auf Kosten des Autors. - [III] Frankfurt/Main, ohne Verlag [I+II] 1743. - [III] 1748. [I+II] Titel, (14), 288; 366, (8) Seiten. - [III] Titel, (14), 246, (8) Seiten. - Mit einigen Kopfstücken, Vignetten und Initialen in Holzschnitt, 8° (18 x 10,5 cm). Pergamentband der Zeit mit fünf durchgezogenen Bünden, goldgeprägtem orangefarbigem Rückentitel und blau gefärbtem Schnitt.
1920réf. 112751920 S.l.n.d.n.é. (vers 1920), 1 portfolio de 10 estampes sur Japon nacré insérées dans une chemise décorée d'oiseaux dans une végétation imprimé à l'argent, le tout sous couverture de papier à motifs géométriques portant une étiquette en long avec caractères japonais au plat inférieur. Dimensions des estampes : 330 x 250 - dimensions de la couverture : 394 x 277. Tout petit manque de papier à la couverture, chemise roussie, estampes en parfait état.
1960- Louis Broder, Paris 1960, 20x24,1cm, une feuille. - Pointe sèche originale de Valentine imprimée sur japon et réalisée pour l'ouvrage Feuilles éparses en hommage à René Crevel. Envoi autographe signé de l'artiste en marge basse de la planche : "pour Louis Broder - Son amie Valentine Hugo" Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
réf. 89806CREATIVE PRINTS WATARAI Jun'suke artist. KOROPOKKURU NO SHI. a little 9.8 x 7.4 cm leather wraparound box gold embossed with 13 copperengravings inside illustrating a text of POEMS OF THE LITTLE PEOPLE the little people being humanculi of Ainu legend who "take their ease under the trees" of the great northern forests. Though undated this copy is #9 of 50 copies and was produced by Sawamura Gallery probably in the 1970s. In perfect condition throughout with the original wraparounds the text pamphlet and the outer shipping box as well. unknown books
1970réf. 898071970. Creative Prints SHINOHARA Cao artist. HISHÔ NO SHINTAN. Shôwa 45 1970 A small 7.5 x 7.5 cm western style square book bound in white leather. Illustrated through in tiny engravings some colored signed by Shinohara numbered 83 of 100 copies. In a lovely little leather slipcase and wraparond paper like new. A very unusual work from the heyday of Japanese artist books after the War. unknown books
1970réf. 898071970. Creative Prints SHINOHARA Cao artist. HISHÔ NO SHINTAN. Shôwa 45 1970 A small 7.5 x 7.5 cm western style square book bound in white leather. Illustrated through in tiny engravings some colored signed by Shinohara numbered 83 of 100 copies. In a lovely little leather slipcase and wraparond paper like new. A very unusual work from the heyday of Japanese artist books after the War. unknown
