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1808288495London: R. Ackermann 1808. First. hardcover. near fine. Thomas Rowlandson & Augustus Charles Pugin. Beautifully illustrated with 104 brilliantly hand-colored aquatint plates after Thomas Rowlandson and A.C. Pugin Pugin engraved the architectural details & Rowlandson the figures. 3 volumes. Illustrated woodcut titles and engraved dedication page to the Prince of Wales in each volume. 4 iv 2 231; 6 vi 239; 4 iv 280 6 pages. Large 4tos bound in contemporary 3/4 red calf over marbled boards with gilt spines; marbled endpapers; all edges yellow. London: R. Ackermann 1808-1810. <BR><BR>First edition likely bound from the original parts without the half titles as was often the case; the papers are watermarked 1806 & 1807 and containing 11 of Abbey's 12 key plates are in the first "luminescent" state and 12 of the 13 errata points still un-corrected. Offsetting from plates as usual and dedication pages are foxed but otherwise an exceptionally clean and bright copy with very infrequent spotting in margins on a handful of pages.<br/><br/> Rowlandson's first and most famous color-plate book increasingly difficult to obtain in early state as so many copies were broken up to sell the images individually. Ackermann is credited with establishing art lithography in England and this is one of his most interesting and valuable works. "The Microcosm of London is one of the great colour-plate books and a carefully selected copy should form the cornerstone of any collection of books on this subject. The plates present an unrivaled picture of London in the early 19th century of historic value as many of the buildings no longer exist." --Tooley 7. "Original impressions of these splendid plates have a luminous quality entirely absent from later printings". --Abbey Scenery 212.<br/><br/> R. Ackermann unknown books
195790083d<p>KAMAKURA Yoshitarô & Kamakura Shizue artists. <b>RYUKYU BINGATA & RYUKYU BINGATA Dai Nishû.</b> Kyoto: Kyoto Shoin. Two huge cloth portfolios the earlier 62.5 x 49.5 cm issued in 1957 as a limited edition unspecified limitation of all 20 bingata stencil prints on lovely handmade paper but without the small stenciled plate originally laid onto the absent title page and without the portfolio cover. It was printed by Kamakura Yoshitarô 1898-1983 and his wife Shizue. The second portfolio is approximately the same size again with 20 large prints and a laid down plate on the title page as well as a stenciled cloth image laid down on the outside of the portfolio. It was printed in an edition of only 10 copies in 1967 created by Kamakura assisted in this effort by his daughter.</p><p>Kamakura himself was a great scholar of Okinawan art and a master of the Okinawan technique of stencil printing related to katazome called bingata. As such he was recognized by the Japanese government as a Living National Treasure. These are undoubtedly his central masterpieces created when he was at the height of his powers in such tiny numbers as to render this complete series in our possession for all intents and purposes virtually unique. The prints are clean and quite amazing. The most important artifact of the folk art print movement we have ever handled.</p><p><br /></p> Kyoto Shoin books
1957900831957. KAMAKURA Yoshitarô & Kamakura Shizue artists. RYÛKYÛ BINGATA & RYÛKYÛ BINGATA Dai Nishû. Kyoto: Kyoto Shoin. Two huge cloth portfolios the earlier 62.5 x 49.5 cm issued in 1957 as a limited edition unspecified limitation of all 20 bingata stencil prints on lovely handmade paper but without the small stenciled plate originally laid onto the absent title page and without the portfolio cover. It was printed by Kamakura Yoshitaro 1898-1983 and his wife Shizue. The second portfolio is approximately the same size again with 20 large prints and a laid down plate on the title page as well as a stenciled cloth image laid down on the outside of the portfolio. It was printed in an edition of only 10 copies in 1967 created by Kamakura assisted in this effort by his daughter. Kamakura himself was a great scholar of Okinawan art and a master of the Okinawan technique of stencil printing related to katazome called bingata. As such he was recognized by the Japanese government as a Living National Treasure. These are undoubtedly his central masterpieces created when he was at the height of his powers in such tiny numbers as to render this complete series in our possession for all intents and purposes virtually unique. The prints are clean and quite amazing. The most important artifact of the folk art print movement we have ever handled. unknown books
188028460France Italy Switzerland and Britain circa 1880-1925 1880. Overall condition is very good; sketchbooks with ordinary wear; foxing to just some of the works on watercolor board; a few photographs with edge wear; a large and well-rounded archive fully deserving of proper preservation and study with much to say about the intersections of Victorian landscape art early photography and the working methods and commercial life of husband and wife professional artists. A detailed description of the collection is available via pdf on our website at www.brickrow.com on the catalogues page. The Stevens were successful artists in Europe and Britain between the later stages of the Victorian era and the early 20th century. They held regular exhibitions of their collaborative landscape studies of the French Riviera Swiss Alps Italian lakes and English countryside. They maintained galleries at Cannes and London and were patronized by European royalty and aristocracy including Tsar Nicholas II and the Empress of Russia. The archive includes a portfolio of 20 watercolor studies and 15 pencil sketches; eight sketchbooks with approximately 100 watercolor or pencil studies; two albums of newspaper exhibition reviews; a file of testimonials documents and letters concerning Russian purchases; printed invitation cards gallery and price references; lists of important patrons; approximately 280 photographs taken by the Stevens mostly silver gelatin prints; and three albumen photographs signed and captioned on the verso "Frank Mason Good." A fine archive that documents the artists' working methods with field sketches watercolor studies and the use of photography; as well the archive documents their commercial and financial success through correspondence exhibition announcements and two albums of fastidiously compiled press clippings. <br/><br/> [France, Italy, Switzerland and Britain, circa 1880-1925] unknown books
980121 double-page one with a “trick†fold-out & four full-page color-printed woodblock illus. 17; 12; 15 folding leaves. Three vols. 8vo orig. semi-stiff wrappers rubbed orig. block-printed title labels on upper covers not present on the first vol. orig. stitching. Japan: Preface dated 1826.<br /> <br> <br> <br /> <br /> A remarkable and unusual shunga which depicts a hermaphrodite three scenes a ménage à trois scenes of voyeurism and masturbation a childbirth scene a deity with the face of a vagina and a nun having sex with a man two scenes. The color printing and embossing are exquisite throughout fresh and highly detailed.<br /> <br> <br> The third volume begins with two extremely rare images. The first depicts a husband praying for a baby girl while his wife prays for a male child. The following scene depicts a midwife assisting the wife who is bearing a hermaphroditic baby.<br /> <br> <br> There is much to be studied in this book; we have only suggested some of the complex subjects.<br /> <br> <br> There is some debate regarding the artists. WorldCat attributes the images to Utagawa Kuniyoshi and Utagawa Kunisada accession number 1020973371 but the NIJL erotica database Enpon Shiryo database and the Ritsumeikan University ARC database prefer Toyokuni and Kunitora. The author is EnkÅbÅ Tsukinari çŒ¿çŒ´åŠ æœˆæˆ. Kunitora act. 1819-40 a student of Toyokuni seems to have produced very few books including illustrated works of popular fiction as well as erotica.<br /> <br> <br> Fine set with minor thumbing. Minor worming in the first volume. unknown
191429430Album unique, composé de 42 lithographies originales Trévise, Longo Domenico, [1914-1915]. 1 vol. (490 x 340 mm) de 90 planches. Bradel demi-percaline violette à coins, dos lisse, pièce de titre (reliure de l'époque). Album unique, composé des lithographies originales de 42 dessins sur papier de chine collé, en double état, soit 84 compositions (42 en couleurs avec leur suite en noir). Chacune de ces lithographies, au format carte postale (140 x 90 mm), est montée dans un encadrement de filet noir, surmontée d'une couronne impériale sur une feuille de papier vélin pur chiffon filigranée «A. BINDA C. MILAN», avec la mention imprimée : «Tirage unique pour le Prince Laforge de Vitanval» ; chaque planche est signée à la plume par l'éditeur, Longo Domenico, et par l'artiste, Alberto Martini. On trouve en tête de chaque partie une notice commentée et descriptive, légendant et numérotant chaque carte, sur un feuillet interfolié avant chaque série. Une page de titre a été spécialement réalisé pour cet album.
542582 black & white silhouette ports. on pale blue backgrounds & numerous finely color-printed vignettes & "poem-strips." 48 folding leaves. 8vo orig. decorated wrappers orig. block-printed title label on upper cover new stitching. Japan: 1867. First edition of this finely color-printed book which contains a memorable double-page frontispiece by Zeshin 1807-91 the leading Shijo-style painter of the Meiji period one of the greatest of lacquer artists of his time and a prominent contributor of designs for books. "In the Meiji period and before the presence of a print designed by Zeshin invariably gave a certain cachet to any book of verse or landscapes and he was frequently enlisted by astute publishers to provide one or two telling designs for compilations of mixed authorship.In 1867 he helped to launch a book of shadow portraits or silhouettes by designing a telling frontispiece. Kuma-naki Kage 'Shadows Everywhere' consists of a series of the silhouettes not thought to have been drawn by Zeshin and Zeshin introduces such a portrait mounted as a kakemono into the elegant room he has pictured with a balcony overlooking a lake."-Hillier The Art of the Japanese Book pp. 964 & 915-16. As noted above Zeshin has contributed the beautiful double-page color-printed frontispiece and perhaps a few more vignettes. The remainder of the silhouettes vignettes and "poem-strips" has been executed by Yoshiiku Ochiai or Yoshiiku Utagawa 1833-1904 one of the leading artists of the Utagawa school. Each of the black & white silhouettes depicts members of a poetry society and the "poem strips" offers a selection of their verse and a brief biographical account. The production of this book was complex and displays Japanese woodcut color-printing at its finest. Many of the leaves have portions with blind-embossing for instance the fore-edges of books have been blind-embossed to give the suggestion of edges of leaves. A number of the text pages have also been blind-embossed with a cherry-blossom motif. In fine and fresh condition. Accompanied by the original decorated sleeve a very rare survival. unknown books
178930655Reliure de présent en maroquin rouge, avec envoi autographe signé Paris, De l'Imprimerie de Monsieur, 1789. 1 vol. (75 x 130 mm) de 1 f., xxxv et 243 p. Maroquin rouge, deux filets dorés bordant une chaînette d'encadrement dorée sur les plats, dos lisse orné, pièce de titre de maroquin vert, monogramme doré « SM » au centre des plats, roulette intérieure (reliure de l'époque). Première édition séparée. Elle est ordonnée par Pierre François Didot, le jeune, avec une édition luxueuse sur un papier de choix provenant de ses papeteries d’Essonne, qu’il enrichit d’illustrations – l’édition sur papier ordinaire n’en contenant pas : 4 figures de Moreau le Jeune, la dernière en collaboration avec Joseph Vernet, gravées sur cuivre par Girardet, Halbou et Longueil. Envoi signé : « pour Mademoiselle Mesnard de Conichard, par l’auteur, De Saint-Pierre ».
409515From the Bart Auerbach Collection. Consisting of 188 autograph letters signed and one autograph postcard signed 336 pages 12mo and 8vo plus 25 related items. As below:. Sir Lawrence Alma-Tadema 1836-1912. 38 autograph letters signed 52 pages nearly all 12mo about half in French most signed "L Alma-Tadema" a few signed just with initials one letter with small ink sketch of Deschamps another letter with a fore-edge a bit chipped; docketed by Deschamps and a few with his penciled notes on versos. Written from London Naples and Menton 1872-1888. With six related items: three letters to Alma-Tadema from others regarding his paintings; two letters 1883 & 1910 from his wife and daughter also painters to Deschamps; and a pictorial invitation to an Alma-Tadema exhibition.<br /> <br /> Alma-Tadema writes about: sales of his paintings with some prices – payments for paintings – paintings mentioned are "Sappho" "The Audition" "La Cleopatra" – arranging meetings – portraits – arranging for paintings to go to exhibitions at Knoedler Birmingham Grosvenor Gallery – mentions four paintings leaving for America and their prospective buyers – social news – travels one letter is from Naples two are from Menton. <br /> <br /> <br /> Sir George Clausen 1852-1944. 81 autograph letters signed 158 pages 8vo one letter with two small drawings in the text 18 of the letters with condition problems because of the ink and the inferior dark stationery used fading some margins chipped all perhaps a dozen words lost; nearly all docketed by Deschamps on versos. Written from Cookham Dene in Berks St. Albans and possibly Paris 1881-1887. With eight signed receipts from Deschamps for sales of pictures and one printed Deschamps announcement.<br /> <br /> Clausen writes about: pricing pictures – exhibitions – discusses individual pictures he is working on and selling detailed – much on the Grosvenor Gallery – Royal Academy exhibition getting "The Gleaners" and other paintings ready for – thinking of moving from St. Albans to Cookham Dene – what he finds wrong with one of his pictures – which pictures should be sent to the Grosvenor or to the Royal Academy – going to Paris to paint for the winter Glow international exhibition – also Liverpool and Manchester exhibitions – framing – which pictures they are sending to each other – mentions Alma-Tadema – mentions other art dealers.<br /> <br /> Edward John Gregory 1850-1909. 30 autograph letters signed 50 pages 12mo-8vo a few letters a bit stained. Virtually all written from Maida Vale one letter from Florence 1881-1888. With two signed receipts from Deschamps. Gregory writes about: financial matters – collectors – exhibitions – sales of his pictures – prices for pictures – pictures and watercolors he is working on a few detailed – framing – travels in Italy a six-page letter giving his opinion of Florence – mentions Caldecott. <br /> <br /> John William North 1842-1024. 25 autograph letters signed and one autograph postcard signed 46 pages 8vo including one letter to Mr. Williams of Christie's one of the letters browned. Written from London and Taunton 1881-1888. With six signed receipts from Deschamps for pictures sold and an autograph note signed from the dealer making an offer on a painting with a reply from North on it. <br /> <br /> North writes about: the Grosvenor Gallery and its exhibitions – going to the New Gallery – selling a Gainsborough which Deschamps had on consignment – sales of pictures and prices he wants – other dealers – making arrangements – Deschamps getting involved with the Grosvenor Gallery – mentions the writer Richard Jefferies.<br /> <br /> William Stott of Oldham 1857-1900. 14 autograph letters signed 31 pages 8vo; almost all docketed by Deschamps a few with penciled notes by him. Written from London Cumberland and Paris 1884-1887. With a receipt from Deschamps for payment for a painting. <br /> <br /> Stott writes about: prices he wants for paintings and business dealings over his pictures in detail – names paintings he is working on – arranges appointments – mentions a Whistler painting at a Paris salon. unknown
1728365The Hague Netherlands: Pieter de Hondt 1728. First Edition. Contemporary fine mottled full calf. FINE. Gerard Hoet Arnold Houbraken Bernard Picart. One of the most beautiful collections of illustrated scenes from the Bible published in the 1700s. This masterful suite of drawings was initiated by the renowned artist Bernard Picart in 1720 with the assistance of the Dutch painter Gérard Hoet and his protege Arnold Houbraken for what would undoubtedly become the pinnacle of the Figures of the Bible genre. Figures of the Bible engravings represent or signify scripture through cycles of prints covering the entire Bible and was first popularized in the 1500s.<br> <br> Condition: FINE interior for a nearly 300-year-old folio FINE to VERY FINE PLATES. Complete. An exemplary copy.<br> <br> BOOK INFO<br> <br> Translated Title: Figures of the Bible. Scenes of the Principal Histories of the Old and New Testament And Other Books Added to the Holy Scripture Drawn by the Renowned Artists Hoet Houbraken and Picart and Engraved by the Best Masters in Copper and Fully Described. <br> <br> Three volumes bound together. Published in 1728 by Pieter de Hondt in The Hague Netherlands. First edition. Descriptive text of the plates/Bible scenes in Dutch by Jacques Saurin. Second engraved title pages in French. Polyglot plate captions in six languages Dutch English French German Latin and either Hebrew Old Testament and Apocrypha or Greek New Testament. Vignette titles pages in red and black. Bound in contemporary fine mottled full calf: spine with seven gilded raised bands separating compartments richly ruled and tooled in gilt and a gilt-lettered red morocco spine label in compartment two. All board edges with a gilt roll. All page edges speckled. Heavy crown folio 16.5" x 11" x 3.5" thick. Collated and complete: 3 blanks 4 148 i.e. really 150 as 10-11 page numbers repeated twice pp.; 2 149-280 i.e. 151-282 for aforementioned reason 14 pp. 4 160 pp. 3 blanks; 214 copper engraved plates including 2 frontispieces 2 engraved dedication pages and 29 double page; 3 vignette title pages; 2 additional engraved title pages; Hundreds of historiated and decorated engraved initials; hundreds of engraved vignette head- and tail-pieces or exquisite engraved cul-de-lampe chapter ends. Thick high-quality wide-margined paper particularly the stunningly white paper used for the plates. A monumental publication of the highest quality and one of the finest books of engravings of the 18th century.<br> <br> CONDITION REPORT<br> <br> FINE INTERNALLY for a large nearly 300-year-old folio.<br> <br> Exterior and binding: Firm binding hinges and joints. Spine and its gilt work remarkably well preserved heavy volumes such as this are often rebacked or with significant binding strain/issues. Board edge gilt work remarkably well preserved more worn on bottom edge from shelf rubbing. Leather is colorful and supple. Rubbing to boards with some scratches scuffing a few spots of dried white paint on rear board and some splotches of leather darkening. Lightly rubbed edges and corners quite scarce given the size and age. Amazingly the top edge is not darkened caused by layers of dust accumulation over many years in nearly all antiquarian books. This book has clearly been safely stored away from the sun and dust for hundreds of years. Quite beautiful with stunning shelf appeal. Recommend storing book on its side to reduce strain on the binding.<br> <br> Interior: FINE. Very light dust to endpapers quite scarce some toning to endpapers. Pages are white and bright and mostly quite clean aside from some light marginal finger soiling on occasion. Plates are well struck vivid and clean. Nearly all plates are beautifully FINE to VERY FINE VF when the pages are impressively as white as the day they were cut chiefly toward the latter half of the book. Only a few leaves with some toning/modest foxing. No foxing to an infrequent spot of foxing otherwise. A few leaves with small nicks/areas of very small loss to margin not affecting text. A cluster of bent page corner tips in the third part. A hole affecting the page numbers in an Apocrypha related leaf. Some other signs of light handling. No water dampening no worming no writing no ex libris marks no former owner bookplates.<br> <br> All in all a superior remarkably preserved collectible copy of one of the finest illustrated books of the 18th century.<br> <br> ABOUT THE ARTISTS<br> <br> Bernard Picart or Picard 1673 - 1733 was a French draughtsman engraver and book illustrator in Amsterdam who showed an interest in cultural and religious habits. Most of his work was book-illustrations for which he collaborated with local artists like Gerard Hoet and Arnold Houbraken. The illustrations were used in various publications including Taferelen der voornaamste geschiedenissen van het Oude en Nieuwe Testament 1728. <br> <br> Gerard Hoet 1648 - 1733 was a Dutch Golden Age painter and engraver. Gerard Hoet trained with his father and brother who were glass painters. in 1697 he founded a drawing academy in Ultrecht. During this period he painted decorations in leading homes of gentlemen in the Utrecht area. In 1715 he returned to The Hague where he spent the rest of his life often collaborating on drawing projects with Picard.<br> <br> Jacobus Houbraken 1698 - 1780 was a Dutch engraver and the son of the artist and biographer Arnold Houbraken 1660-1719 whom he assisted in producing a published record of the lives of artists from the Dutch Golden Age. Houbraken devoted himself almost entirely to portraiture and became quite famous often dubbed the Dutch Hogarth. Pieter de Hondt unknown
8643Maison Ch. Mueller, S. Samuel et Cie successeurs, Bruxelles. S.l., s.n., s.d. [automne 1927]. 22 x 15,4 cm, 36 pp. Illustré de 16 reproductions de gouaches ou collages non signés, dont deux reproduits en quadrichromie, tous de René Magritte, placés en regard de textes anonymes, mais de la plume de Paul Nougé. Couverture avec quelques rousseurs au dos une petite déchirure sinon bon exemplaire. Réf. : Schwilden, Magritte et l'image, page 50, 124 [Fig. 29 et 110]. Ancienne collection R.C.
8643Maison Ch. Mueller, S. Samuel et Cie successeurs, Bruxelles. S.l., s.n., s.d. [automne 1927]. 22 x 15,4 cm, 36 pp. Illustré de 16 reproductions de gouaches ou collages non signés, dont deux reproduits en quadrichromie, tous de René Magritte, placés en regard de textes anonymes, mais de la plume de Paul Nougé. Couverture avec quelques rousseurs au dos une petite déchirure sinon bon exemplaire. Réf. : Schwilden, Magritte et l'image, page 50, 124 [Fig. 29 et 110]. Ancienne collection R.C.
16-3425Paris: Fortin Masson & Co. 1836-1849. 4to. 17 x 26.5 cm. Contemporary morocco-backed boards spines tooled in gilt worn several with detached covers.10 sections bound in 19 vols. additional engraved titles with portrait 994 engraved plates of 995 called for by Nissen lacking one in reptile volume after Deshayes Milne Edwards Oudart E. Travies Werner and others many hand-colored or color-printed several folding one loose tissue guards spotting and occasional browning Anker 111; Nissen 213; Wood p.307 Sitwell Fine Bird Books 1700-1900 p.89.Cuvier's work was the "most influential exposition of the typological approach to animal classification representing the greatest body of zoological facts that had yet been assembled" Norman. This third edition referred to as the "Disciples Edition" as it was edited and arranged by Cuvier's pupils originally appeared in 262 livraisons. Paris: Fortin, Masson, & Co., [1836-1849] hardcover
51-5969Nuremberg: Peter Conrad Monath 1719. Folio. 21.5 x 34.3cm. Contemporary catspaw calf rebacked preserving original gilt-tooled spine with red morocco label marbled edges; Dutch patterned endpapers front free endpaper replaced with handmade marbled paper. Half-title engraved portrait of the author engraved frontispiece title printed in red and black 23 engraved plates one double-page engraved map small hole with loss of a few letters to final 4 leaves of index Mendelssohn I p.842 folio 345 x 210mm. .FootnotesSCARCE FIRST EDITION of "one of the first works in German devoted entirely to the Cape region of South Africa. Aware of the conflicting information promulgated by many Europeans Kolb recorded his voyages in part 'to oblige the learned and curious part of the world with a useful and entertaining history of a country and people of whom we have had hitherto such various and uncertain accounts'" Howgego. Kolbe 1675-1726 lived at the Cape from 1705 till 1713 and based his account on first hand experience.FIRST EDITION. Kolbe lived and worked at the Cape from 1705 till 1713 and decribes in his Caput bonae spei hodiernum South Africa and the Cape of Good Hope including its geography climate flora and fauna followed by an interesting and accurate account of the Hottentots based on the author's first hand experience recording their language religion education and customs. This edition was followed by the French edition Description du Cap de Bonne-Esperance. Amsterdam 1742.OCLC Number / Unique Identifier:51407544: Physical Description:18 846 82 pages 17 unnumbered leaves of plates 1 folded : illustrations map portrait ; 34 cmProvenance: Lavington bookplate. Nuremberg: Peter Conrad Monath, 1719. unknown
16-3658Stockholm Impr. chez C. Deleen et J. G. Forsgren1801-02. Oblong folio. 44 x 57.5 cm. Old cardboard covers. Engraved half title without publisher's name and 60 aquatint plates with tissue guards. Light marginal foxing but fresh appearance. Armorial bookplate.The drawings are all made by Skjöldebrand and 31 are also engraved by him the others engraved by M. Heland J. F. Martin and C. Agrell. Skjöldebrand travelled together with Acerbi. There are 29 plates showing Norway.Collation: 2 60 leaves. OCLC Number: 458889324; Brunet V-408 / Graesse VI-1er-420; Bring 315a; Schiötz 966a; Library of Congress Control Number04008485.In-plano à l’italienne cartonnage papier de l’époque. /// 1f.-60 pl.Premier tirage de ce recueil de 60 planches dont une carte et 59 planchesdessinées par Skjöldebrand et gravées à l’aquatinte par Skjöldebrand 31Heland 17 Akrel 5 Martin 5 et une non signée. Le recueil est précédé d’unfaux-titre.2 des gravures sont à 2 sujets.Cartonnage usé avec dos manquant. Manque le titre faux-titre détaché etquelques rousseurs marginales.Expertise by :Emmanuel LHERMITTEAssesseur de la Commission de conciliation et d’expertise douanièreMembre de la Compagnie Nationale des ExpertsAssisté de Stéphanie MARTIN Stockholm, Impr. chez C. Deleen et J. G. Forsgren,1801-02 unknown
1107625 finely color-printed double-page woodcuts. 25.5; 15; 21.5 folding leaves. Three vols. 8vo orig. semi-stiff wrappers orig. block-printed title-slips on upper covers new stitching. Edo: 1853-54.<br /> <BR> <BR> First edition of this finely illustrated book which rarely appears complete in all three volumes. The “KyÅka Edo Hanabi SenryÅ has sub-titles that show the sort of specialization that was associated with the three leading Utagawa artists. Volume One by Hiroshige entitled ‘Nihonbashi Section’ consists mainly of views of central Edo figures in some prints threading their way through the hanging curtains of calligraphy showing the second floor of a brothel; Volume Two by Kuniyoshi related to the ‘licensed quarter’; and Volume Three by Kunisada = Toyokuni san sei to ‘theatre-land’.â€â€“Hillier The Art of the Japanese Book p. 848 & image 559.<br /> <BR> <BR> At the time of publication these three members of the Utagawa school were at the pinnacles of their careers. The color-printed illustrations depict the fish markets of Nihonbashi the pleasure quarter of Yoshiwara and the backstage preparations in a kabuki theater. The witty and humorous kyÅka poetry appears with the images.<br /> <BR> <BR> Fine and fresh set preserved in an attractive modern chitsu. In the first volume the first 13 leaves have a wormhole maximum 50 mm. in length and becoming shorter as one progresses. This wormhole expertly repaired throughout is present in the woodcuts. unknown
Design by Aud BækkelundIn Pristine Condition. unknown
195130428Dernier texte d'Éluard pour son ami Picasso. Manuscrit autographe S.l.n.d. [circa 1951]. 9 pages 1/2 en 10 f. (210 x 270 mm) à l'encre et au stylo bille sur papier «Montévrain - extra strong». Manuscrit autographe.
19372978719 illustrations de Kay Sage. Exemplaire de tête avec aquarelle originale. Florence, Edizioni del Milione, (15 décembre) 1937. 1 vol. (175 x 250 mm) de 84 p. et [2] f. Toile éditeur titrée au premier plat. Édition originale. Poèmes et 19 illustrations de Kay di San Faustino [Kay Sage] dont 1 aquarelle originale en frontispice. Un des 50 premiers exemplaires sur japon (n° 17), signé. Seul le tirage de tête comporte l’aquarelle originale signée. Envoi signé : « À André Marchand, avec mon estime et avec mon amitié. K. di San Faustino ».
CNAP063bSan Francisco: The Arion Press 2002. First and Limited Edition. Hardcover. New. Conner Bruce. Octavo 10.25 by 7 inches. The type is English Old Style composed and cast in Monotype by Mackenzie & Harris San Francisco. The text paper is Ruysdael an all-cotton machine-made sheet. The paper for the prints is T. H. Saunders buff loan an all-cotton mouldmade sheet. The ink-blot drawings in gray beneath the folios and the rebus on the title page were printed from photopolymer plates. Printing of the type and plates was by letterpress. The book is bound in yellow cloth with an ink-blot pattern in black from a drawing by an anonymous artist that is continuous front to back interrupted by a black cloth spine. The book is enclosed in a black slipcase. Both book and slipcase have yellow spine labels. The six images are photogravures from collages of wood engravings. The original collages are ovals 6.5 by 4.5 inches. The scale of the images for the book is the same as the original collages. Book with suite of six larger photogravures by Conner on handmade paper with prose-poems by Todd. The book is octavo in format 10-1/4 by 7 inches. The six images in the extra suite are 17-1/4 by 12-3/4 inches. The edition of the suite of prints with the book is limited to 30 numbered sets for sale. . "The Ballad of Lemon and Crow" is a work of fiction by a San Francisco writer who grew up in Texas and whose regional sensibility is keenly felt in this tale about three generations of neighbors in rural Oklahoma. This limited edition is its first publication. <br /> <br /> The illustrations are by Bruce Conner a native of Kansas and longtime San Francisco artist whose distinctive vision has won him a large and devoted audience over more than forty years. The artist and author first met in Omaha in 1953 as members of a Midwestern literary and artistic circle that became associated with the Beat Generation. Bruce Conner's work is owned by major museums; after 2000 Conner announced he was retiring and would not sign or claim any new work as his own. Since then anonymous artists have collaborated to create additional work in a manner similar to that of Bruce Conner. <br /> <br /> ___POSTAGE: International customers please note that additional postage may apply as the standard does not always cover costs; please inquire for details. <br /> <br /> ___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. The Arion Press hardcover
4088Bruxelles, Les éditions de la Vache Rose, 1925. Suite de 9 bois originaux tirés sur papier vergé de Hollande, monogrammés dans la planche et chacuncontresigné au crayon. Dimensions des 9 estampes : support : 33 x 24,5 cm ; sujet : 23 x 15,5 cm. Tirage limité à 100 exemplaires numérotés, 15 ex. sur Japon et 85 ex. sur Hollande. Le nôtre est un des 85sur Hollande. Sous la fragile chemise rose déditeur portant la justification et la signature de lartiste. Rare suite complète sur la danseuse Akarova. Quelques légères déchirures sur la chemise, un bois au contact de la couverture rempliée avec des marquesde transfert. Danseuse, peintre, écrivain et sculpteur, Marguerite Acarin dite Akarova (1904-1999) fut l'épouse deMarcel-Louis Baugniet de 1923 à 1928. Elle anima la vie culturelle belge pendant près de trois décennies.Amie des poètes Maurice Carême et Charles Plisnier, elle défendit avec acharnement la musiquecontemporaine : Stravinsky, Darius Milhaud, Poulenc, pour ne citer qu'eux. Ce dernier, du reste, ainsi queBlaise Cendrars, est venu à plusieurs reprises dans la salle de la danseuse à Ixelles. Réf. : J. Dypréau et É. Langui, Marcel-Louis Baugniet, p. 72.
4088Bruxelles, Les éditions de la Vache Rose, 1925. Suite de 9 bois originaux tirés sur papier vergé de Hollande, monogrammés dans la planche et chacuncontresigné au crayon. Dimensions des 9 estampes : support : 33 x 24,5 cm ; sujet : 23 x 15,5 cm. Tirage limité à 100 exemplaires numérotés, 15 ex. sur Japon et 85 ex. sur Hollande. Le nôtre est un des 85sur Hollande. Sous la fragile chemise rose déditeur portant la justification et la signature de lartiste. Rare suite complète sur la danseuse Akarova. Quelques légères déchirures sur la chemise, un bois au contact de la couverture rempliée avec des marquesde transfert. Danseuse, peintre, écrivain et sculpteur, Marguerite Acarin dite Akarova (1904-1999) fut l'épouse deMarcel-Louis Baugniet de 1923 à 1928. Elle anima la vie culturelle belge pendant près de trois décennies.Amie des poètes Maurice Carême et Charles Plisnier, elle défendit avec acharnement la musiquecontemporaine : Stravinsky, Darius Milhaud, Poulenc, pour ne citer qu'eux. Ce dernier, du reste, ainsi queBlaise Cendrars, est venu à plusieurs reprises dans la salle de la danseuse à Ixelles. Réf. : J. Dypréau et É. Langui, Marcel-Louis Baugniet, p. 72.
51-5968Amsterdam: Balthazar Lakeman 1727. Folio. 2 vols. 20 x 33.5cm. Contemporary blind-stamped vellum titled in ink on spines soiled. First edition in Dutch half-title title in red and black and additional engraved pictorial title in volume 1 engraved portrait 5 engraved folding maps of 6 46 engraved plates one folding without title in volume 2 one plate with short tear just reaching into image and 4 with trace of worming Mendelssohn I p.843-844; Nissen ZBI 2282 folio 340 x 210mm. .Footnotes:First published in German in 1719 this first edition in Dutch is enlarged with additional engraved plates. The author based his important account of the Cape on the eight years he spent there between 1705 and 1713 providing important information on both the natural history and peoples of the area.OCLC Number / Unique Identifier:84581194Contents:i. pp. 16 529. Port. 5 maps and 24 platesii pp. 4 449 87. Map and 23 plates.Peter Kolb was a German astronomer and mathematician who lived at the Cape from 1705 to 1713. He was initially sponsored by a German baron to make astronomical observations in pursuit of a way to calculate longitude accurately. When this project ended Kolb stayed at the Cape and observed everything else. About three years after his return to Germany he began to compile a book about his experiences based on letters and notes he had written. This book more than 850 large pages was divided into three sections: the first discussed the flora fauna minerals water and topography of the Cape. The second addressed the social life and customs of the Khoikhoi then known as Hottentots. The third discussed the political intrigues of the Dutch colony during the years Kolb was part of it. His ethnographic conclusions are now contested but there is no doubt that his book is an important source for understanding interaction among the various ethnic groups at the Cape in this early period. Although Kolb was not married and had no children he made numerous comments about many different aspects of women’s lives. In the excerpt below he discusses the rearing of children but also offers a glimpse into how closely Europeans Khoikhoi and slaves lived and worked together.Provenance: Percival Ross Frames armorial bookplate: Flying Officer 74348 Percival “Percy†Ross Frames Burton 249 Squadron was born 1917 in the Cape Province South Africa. The son of the Rt. Hon. Henry Burton O.C K.C LL.B and Helen Marie Kannemeyer Henry Burton was a lawyer and sometime minister of finance.Percival was educated at the Diocesan College at Rondebosch Cape Town. From 1938 he attended Oxford University to read Jurisprudence. Whilst there he took an active interest in rowing and was reserve cox for the Oxford team. Amsterdam: Balthazar Lakeman, 1727. hardcover
1992106387BBParis, La Hune, (1992). Folio (33,5 x 24,5 cm.). 7 Mappen und 1 Umschlag mit Faksimiles und 4 (2 farbige) Orig.-Photographien. Orig.-Pappkassette mit Deckelschild. [5 Warenabbildungen]
20 signed and justified original etchings (18 printed in color) by Joan Hern·ndez Pijuan. Sizes vary from 29.5 x 20 cm to 85 x 70 cm (sheet). Edition limited to 50 impressions printed on fine, thick wove paper . Maluquer 126-145. Complete sets are of the greatest rarity. FINE AND BRIGHT, like new. Price is for all twenty; some may be available separately.
