Forestier (Sous la direction de M. le Vte Alcide de) :Livre Rare Book
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15937Paris, Delloye, 1837-1838 ; 2 tomes in-4 ; demi-veau glacé mandarine, dos à quatre nerfs, fleurons à froid, titre doré (reliure de l'époque) ; LVI, 208, (2) pp. ; 261, (3) pp. et en tout 2 vignettes de titre, 18 planches hors-texte de costumes lithographiées, aquarellées et gommées, 69 gravures hors-texte en noir et blanc, 2 planches lithographiées de blasons coloriés (les cartes et quelques planches n'ont pas été reliées).
In -4°, pp. (8), 468; vignetta calcografica al frontespizio, ritratto in rame inciso da G. Federico Pesca. Legatura in piena pelle alle armi Carafa della Stadera. Full calf binding with arms of Carafa della Stadera.
In -4°, pp. 533 (3); il volume pubblica le prime tre parti; la numerazione comprende il primo frontespizio inciso. Legatura in marocchino rosso alle armi del cardinale Chigi. “Seconde édition augmentée”. Red morocco binding at Chigi arms.
In -4°, pp. (8), 126, (2), 200, 254 (i.e. 256). Legatura in marocchino rosso con stemma inciso ai piatti di Jacques-Nicolas de Colbert, tagli spruzzati. Al frontespizio nota di possesso manoscritta (“Bibliotheca colbertina”); ex libris “Wican free public library”. Ex libris Biblioteca Colbertina. Red morocco binding witha arms of De Colbert, marbled edges.
1750000402Vienne Vienne: , 1750 1750 Couverture rigide
In -4°, pp. (24), 542, (6), front. in rosso e nero. Legatura alle armi Pamphilj (probabilmente Cardinale Benedetto P.), tagli spruzzati. Binding with Pamphilj arms, marbled edges.
1708000312Amstelaedami (Amsterdam) Ex Officina Wetsteniana (Wetstein) 1708
19254951925. Etching on antique cream laid paper 7 7/8 x 5 1/8 inches 201 x 130 mm full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil lower right. Arms was assisted in the completion of this plate by Kerr Eby. In excellent condition with no visible defects to the sheet archival paper tape hinge at the top sheet edge affixed at the verso. <br /> <br /> Fletcher 169<br /> Illustrated: Page 86 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy.". 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
19259741925. Etching on antique cream laid paper 7 7/8 x 5 1/8 inches 201 x 130 mm full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil lower right. Arms was assisted in the completion of this plate by Kerr Eby. In very good condition with minor toning otherwise no visible defects to the sheet archival paper tape hinge at the top sheet edge affixed at the verso. <br /> Fletcher 169 <br /> Illustrated: Page 86 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy. unknown
192623181926. Etching with drypoint on watermarked FJ Head & Co. handmade laid paper 10 3/4 x 9 7/8 inches 272 x 252 mm; sheet 18 1/8 x 14 1/8 inches 461 x 360 mm full margins. A trial proof aside from the regular edition of 100. Signed dated inscribed "I" in pencil in the lower margin. From the small batch of impressions printed by Frederick Reynolds. With both the artist's moniker ink stamp and the Collection John Taylor Arms ink stamp both in black ink in the lower margin. There is also a New York Public Library accession number in the lower right as well as a pencil inscription indicating that the print was once in the Eddie Welch Estate collection 1975. Small loss at the top-left sheet edge well outside of the image area otherwise in excellent condition. <br /> <br /> Fletcher 181. 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
1856B119438Antwerpen (Anvers), Buschmann 1856-1871 Collectie van de eerste zes volumes, met vele illustraties in tekst en enkele platen buiten tekst, 33x27cm., uniforme intacte contemporaine gecart. banden (gemarbreerde platten, bruinlederen ruggen met titel in goudopdruk en twee labeltjes en met wat slijtage), gemarbreerde schutbladen, ex-libris stempel op titelblad, lichte roestplekjes, tweetalige uitgave: Nederlands-Frans, gewicht: 18 kg., [Inhoud/ contenu ; Volume I: Cathedrale kerk - Eglise cathédrale (xxxix + 463 + 8pp.) // vol.II: Antwerpen parochiekerken 1e afdeling - Eglises paroissiales 1e partie (clxii + 518pp.) // vol.III: Antwerpen parochiekerken 2e afd. - Eglises paroissiales 2e partie (cxxx + 609,[1] pp.) // vol.IV: Antwerpen abdyen en kloosters 1e afd. - Anvers abbayes et couvents 1e partie (ccix + 539pp.) // Vol.V: Antwerpen kloosters - Anvers Couvents (585pp. + 8pp. Rapport) // Vol.VI: Antwerpen kloosters der orde van St.Franciscus - Anvers couvents de l'ordre de St-François (xx + 312,[1] pp.)], [Edition bilingue: néerlandais-français, les premiers 6 volumes, avec de nombreuses illustrations dans le texte et quelques planches hors-texte, 33x27cm., reliures uniformes cart. contemporaines intactes (plats marbrés, dos en cuir brun avec titre doré et deux étiquettes et avec quelques traces dusage), cachet sur la page de titre, avec des rousseurs légères, bon état, poids: 18kg.] B119438
20855Manuscript on vellum three membranes with an initial portrait of the King and the Great Seal attached. The document overall 31 x 24 inches the Great Seal 6 inches in diam. All contained in the original shaped leather over wood case; the case now rather worn and lacking much of the original leather covering. The Great Seal is a rather poor lumpy impression and now lacking the original tin case skippet. The document inscribed to the reverse "The within Patent has been duly recorded in the College of Arms London pursuant to the tenor of His Majesty's Warrant under his Royal Signet and Sign Manual .Examined therewith the thirteenth day of December 1803" and signed George Harrison Clarenceux & Register. Watson has an interesting history. At the age of 14 and in the employ of his uncle on one of his merchant ships whilst swimming in Havana harbour was attacked by a shark and lost his right leg This incident prompted Watson in 1778 to commission John Singleton Copley to paint this dramatic scene known as "Watson and the Shark" for which see our illustration which when exhibited at the Royal Academy caused a sensation. It now hangs in the National Gallery of Art Washington D.C.Watson was a member of the original committee of the Corporation of Lloyd's of London; he was elected as an Alderman of the City of London and served as M.P. for the City of London. Lord Mayor of London in 1796 and a deputy Director of the Bank of England.Copley painted a portrait of Watson in c.1796. This now hangs in Indianapolis Museum of Art. He was also the subject of a caricature by Robert Dighton in 1803. His coat of arms had his severed leg on it and the shark as the crest. hardcover
1888h1121Glasgow: Oatts & Runciman. G : in good condition. Cover rubbed with edge-wear. Sporadic foxing. 1888. First Edition. Blue hardback cloth cover. 510mm x 390mm 20" x 15". 64pp plates. 32 colour plates. Heavy book extra shipping needed for overseas. . Oatts & Runciman hardcover
18560040151856 Bordeaux, Gounouilhou, & Paris, Dumoulin, 1856-60. Trois volumes grand in-8 (202 x 275 mm) demi-veau blond, dos quatre nerfs plats ornés d'un double filet doré, pièces de titre et de tomaison vert lierre (reliure de l'époque). Tome I : frontispice couleurs, VIII pages de faux-titre, titre orné d'une grande vignette gravée en noir et préface datée "1er juillet 1856", 483 pages, 49 blasons couleurs collés sur 46 planches de vélin fort ; Tome II : frontispice couleurs, 480 pages dont faux-titre et titre orné d'une grande vignette, 64 blasons couleurs collés sur 60 planches de vélin fort ; Tome III : (2) ff. de faux-titre, 626 pages, 24 blasons couleurs collés sur 23 planches de vélin fort, 52 blasons collés sur 3 pages de vélin fort et 2 planches en noir de blasons. Deux pages ont été remontées au tome I.
1757182111757 2 volumes, reliure plein veau havane marbré in-douze (binding full calfskin in-12) (17 x 10,5 cm), RELIURE D'EPOQUE, dos à nerfs (spine with raised band) décoré or (gilt decoration) à filets or et à froid, entre-nerfs à fleurons au fer plein avec rinceaux aux angles (floweret with full blocking stamp), titre frappé or (gilt title), pièce de titre sur fond bordeaux avec double filets or (label of title with double gilt line), tomaison or (manque de dorure), dos avec de très légères craquelures (spine with very light cracks) avec de légers manques de dorure, petit accident à l'échancrure de tête du premier plat (small accident in the top indentation of the front cover) avec mors fendu sur 2 cm, filets sur les coupes (gilt line on the cuts), avec manque de dorure (blurred gilding), Toutes tranches lisses rouges (all red edges), Ex-Libris manuscrit à la mine de plomb au dos de la première page de garde peignée : "...Au Baron de Wismes, rare, acheté 25 chez Petiteau 1855, vient de chez l'Abbé Chalopin...,trés rare et trés recherché...", de la main du Baron Gaëtan de Wismes, Elle est ornée d'un titre-frontispice gravé par Nicolas Le Mire, de 9 planches décrivant les blasons de la famille royale, et de 362 planches d'écussons hors-texte gravés sur bois en noir + Bandeaux, lettrines et culs-de-lampes gravés sur bois en noir, 215 + (212 + 2 ff privilège) pages, 1757 Paris, H. L. Guérin & L. F. Delatour, Laurent Durand et veuve J. B. T. Le Gras Editeurs,
19349045Paris Les éditions Héraldiques 1934-1952 Sept volumes in-4 reliure de l'éditeur plein chagrin brun, dos à nerfs, titre doré, 398, 470, 390, 536, 473, 537, ii, 447 pages, nombreuses illustrations en n&b in-texte, tableaux généalogiques et 5 planches en couleurs hors texte. Édition originale. Coiffe de tête du tome VI légèrement abîmée, néanmoins très bon état, intérieur frais.
0140149902New. Brand new and still unused unknown
0517558106New. Brand new and still unused unknown
0521197120New. Brand new and still unused unknown
538Darkened to spine; gently rubbed with light soiling to rear board; slight loss to spine ends. Very good. <p>Dorothy Noyes Arms and John Taylor Arms. Churches of France. New York: MacMillian Company. 1929. Limited edition No. 151 of 200 numbered copies.</p> <br /> <p>Signed by Dorothy Noyes Arms to limitation page with an original tipped-in frontispiece etching pencil signed by John Taylor Arms.</p> <br /> <p>Folio approx. 13.5 x 10.5 inches. Illustrated with fifty-one reproductions of etchings and drawings by John Taylor Arms. Publisher's beige quarter cloth over black silk-covered boards lettered in black to spine cloth titles to front cover a few pages remain uncut. </p> . unknown
19315001931. Etching on antique cream laid paper 10 x 14 13/16 inches 254 x 377 mm full margins. Signed in pencil and inscribed "Ed. 100" from a total edition of 128. Third state of three. Number 22 from the Italian Series. In good condition with scattered light surface soiling and archival paper tape hinges at the top right and left corners verso. A beautiful impression of this extremely scarce image. <br /> <br /> Fletcher 238iii/III<br /> Illustrated: Page 138 Arms Dorothy Noyes "Hilltowns and Cities of Northern Italy.". 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
19307841930. Etching and drypoint on antique cream laid paper 12 3/8 x 6 9/16 inches 315 x 167 mm full margins. Signed dated and inscribed "Edition 100" in pencil lower margin. In very good condition with minor marginal toning and several very small edge losses along the left sheet edge including a loss at the extreme top-right corner well outside of image area. An excellent impression with good inking on 19th century paper which was hand-chosen by the artist.<br /> <br /> Fletcher 227<br /> <br /> Italian Series #15<br /> Illustrated p. 170 in Dorothy Noyes Arms Hill Towns and Cities of Northern Italy. 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.<br /> <br /> 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
199214829JNew York: Interview Inc May 1992. Laid in is a Typed Letter Signed from Richard Avedon to model & actress Brooke Shields dated April 22 1992 thanking her for Shield’s birthday tribute on page 72 of this magazine. Written on Avedon’s printed stationery “Dear Brooke in Avedon’s hand What a wonderful tribute to us in Interview by you and so beautifully written. then again in Avedon’s hand Really Thanks Dick.†The handwritten parts are very large and flamboyantly written. Both Shields and Avedon shared the month of May for their birthdays. Shield writes in the magazine with side by side portraits of them in part “.One of my best birthday parties was at Richard Avedon’s studio. I wish I had the Polariods. It was just Ariella the makeup artist Polly Mellen and Avedon - the group I grew up with. I could smell the Chinese food from the dressing room: chicken and pine nuts crispy shrimp with sugarcoated walnuts. I came out in a robe with a full face of make-up and there were the usual big blue seltzer bottles with silver pumps on the table and lots of nuts and raisins. And then they surprised me with a cake and champagne. It was really fun like a true birthday party. However I was underage so it was “just one sip for you.’ Twenty minutes later Dick was saying ‘Allright fun is over. Back to work.†When Dick walks into a room with his hair like Einstein’s and plays with his glasses a lot of people are intimidated. And he doesn’t like it if anybody else is around or speaking. But when he works he is so creative so sensitive. He hides behind the camera. It almost becomes a dance. There is a mutual vulnerability and a moment of fusion when he clicks the shutter. You either get it or you don’t.†Interview Inc unknown books
199214829JNew York: Interview Inc May 1992. Laid in is a Typed Letter Signed from Richard Avedon to model & actress Brooke Shields dated April 22 1992 thanking her for Shield’s birthday tribute on page 72 of this magazine. Written on Avedon’s printed stationery “Dear Brooke in Avedon’s hand What a wonderful tribute to us in Interview by you and so beautifully written. then again in Avedon’s hand Really Thanks Dick.†The handwritten parts are very large and flamboyantly written. Both Shields and Avedon shared the month of May for their birthdays. Shield writes in the magazine with side by side portraits of them in part “.One of my best birthday parties was at Richard Avedon’s studio. I wish I had the Polariods. It was just Ariella the makeup artist Polly Mellen and Avedon - the group I grew up with. I could smell the Chinese food from the dressing room: chicken and pine nuts crispy shrimp with sugarcoated walnuts. I came out in a robe with a full face of make-up and there were the usual big blue seltzer bottles with silver pumps on the table and lots of nuts and raisins. And then they surprised me with a cake and champagne. It was really fun like a true birthday party. However I was underage so it was “just one sip for you.’ Twenty minutes later Dick was saying ‘Allright fun is over. Back to work.†When Dick walks into a room with his hair like Einstein’s and plays with his glasses a lot of people are intimidated. And he doesn’t like it if anybody else is around or speaking. But when he works he is so creative so sensitive. He hides behind the camera. It almost becomes a dance. There is a mutual vulnerability and a moment of fusion when he clicks the shutter. You either get it or you don’t.†Interview Inc unknown
16436506London, Flesher, R. Mynne, 1643 ; petit in-8 ; plein veau glacé havane, dos à nerfs richement décoré et doré, titre doré, double filet doré d'encadrement des plats avec au centre les armes de Louis-Urbain Le Fevre, seigneur de Caumartin, marquis de Saint-Ange, comte de Moret (OHR, 651), roulette sur les coupes (reliure fin du XVIIe - déb. XVIIIe) ; (56), 343, (1 bl.), 148, (4) pp. (bien complet du feuillet blanc qui suit le feuillet de titre).
