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016204[Association des Artistes Musiciens] Isidore, baron Taylor (1789-1879), écrivain et philanthrope ; nombreuses signatures de musiciens et compositeurs. L.S., Paris, 16 juin 1876, 1p in-4. A madame Normand : « Madame, Le Comité de L'Association des Artistes Musiciens vient vous exprimer sa plus vive gratitude pour le gracieux concours que vous avez bien voulu lui accorder comme Dame Patronnesse à la Solennité musicale en l'honneur de Rameau qui a eu lieu à St Eustache le jeudi 15 juin. Le Comité est heureux de vous remercier de cette marque de sympathie en faveur de la société des artistes Musiciens qui vient en aide à tant d'honorables infortunes, et il vous prie, Madame, d'agréer des hommages respectueux. Les Membres du Comité. [signatures de 24 membres] ». Outre la signature du président, le baron Taylor, nous identifions les signatures de : 1.Léon Abraham, qui signe A. Léon, violoniste. 2.Adolphe Badet, chef d'orchestre au Cirque Napoléon. 3.Edouard Batiste (1820-1876), compositeur et organiste. 4.Charles de Bez (1812?-1890?), compositeur, vice-président. 5.Adolphe Blanc (1828-1885), compositeur, violoniste et altiste. 6.Adolphe Danhauser (1835-1896), compositeur, musicien et professeur. 7.Louis Deffès (1819-1900), compositeur. 8.Delahaye, probablement Victor Delahaye, écrivain mis en musique par Hetzel notamment. 9.Demol. Il y eut deux Demol : Léon et Théodore. 10.Ferdinand Dubois (?-?), professeur de musique au collège Chaptal. 11.Eugène Gand (1825-1892), violoniste et luthier. 12.Hottin. Il y eut deux Hottin à cette période : Antoine-Alexandre (professeur) et Edme-Narcisse (trompettiste). 13.Eugène Jancourt (1815-1900), compositeur, bassoniste et professeur. 14.Charles Labro (1810-1882), compositeur et contrebassiste. 15.Charles Lebouc (1822-1893), violoncelliste. 16.Albert Lhôte (1828-1900), compositeur et violoniste. 17.Ernest Marie (?-1882), compositeur. 18.Merlé. Il y eut trois Merlé à cette période : Jean-Joseph (chef d'orchestre), Louis-Frédéric et Joseph (altiste). 19.Charles Proust (?-?), compositeur. 20.François-Émile Rignault (1812-1895), violoncelliste. 21.Cyrille Rose (1830-1902), compositeur et clarinettiste. 22.Louis-Eugène Tubeuf (?-?), contrebassiste, professeur de violoncelle et de contrebasse. 23.Victor Frédéric Verrimst (1825-1893), compositeur et contrebassiste. Cet ensemble de signatures représente environ la moitié des membres du comité qui comptait notamment à cette date Vaucorbeil, Comettant, Pasdeloup. Nous n'avons pas trouvé qui était cette madame Normand mais elle a été plusieurs fois « dame patronnesse » (quêteuse) lors de cérémonies organisées par l'association. Belle réunion de signatures. [354]
19869948Canberra: National Gallery of Australia 1986. Four accordion fold leaves 13x13cm folded printed on one side only in blue 6 panels each with UV and XY appearing together to make 24 panels in total. Housed in blue printed box. Fine condition box with some wear. <br /> <br /> Eirene Mort's 1879-1977 charming Australian Alphabet printed by the National Gallery which purchased the designs from the artist's estate in 1984. The designs were drawn in London in 1902 when Mort was 23 and were intended to be produced as a book though it was never published. <br /> <br /> OCLC cites just the Australian Alphabet book publication from 1986 with introduction by John McPhee. Perhaps this frieze was published alongside or at a later date by the gallery. In any event we find not mention of it. National Gallery of Australia unknown
195961258Pontiac MI: Pontiac Motor Division General Motors Sept. 1959. Oblong 4to. 12 x 10.5 in. 28 pp unpaginated. Colour-illustrated throughout several double-page. Colour-illustrated lithographed softcovers slight dustsoiling minor shelfwear light creasing to spine still VG bright copy w/ ownership markings of Bill Mohr 1913-1973 longtime Portland area Ford dealership sales manager. First edition of this excellent Mid-20th Century dealer’s catalogue enhanced with the lush illustrations by Fitzpatrick & Kaufman who were commissioned by GM to create some of the most iconic advertising campaigns for luxury through the 1960’s often featuring the photography by Macmanus John & Adams. The 1960 Pontiac models were a refining of Bill Mitchell’s radical 1959 Pontiac designs but many of their styling cues would return in 1961 & 1962 but the 1960 model year featured horizontal bar grilles straight full-length trim moldings and new deck lid. Fitzpatrick b. 1919 launched his career by apprenticing under John Tjaarda at the Briggs Body Co. as a designer in 1937 and later designed the Darrin Packard One-Eighty sedan before working for General Electric during World War II. After the War Fitzpatrick illustrated for Mercury Lincoln Nash & Plymouth before being recruited for the 1953 Buick portfolio and later granted exclusive contract with GM. Kaufman b. 1918 was a Disney animator who worked on Fantasia and Dumbo and later with the Army Air Corps First Motion Picture Unit and teamed up with Fitzpatrick in 1951. Their original artwork created for GM through 1970 remain some of the most desired automobile art of the 20th Century. Worldcat locates 3 copies Lib. of MI Sloan Museum Free Lib. of Phil.; See: Illustrious Duo: The Art of Fitz and Van Driven to Write 2022; Stork & Dolle Glamour Road: Colour Fashion Style and the Midcentury Automobile pp.183-185. Pontiac Motor Division, General Motors, paperback
196064067Pontiac MI: Pontiac Motor Division General Motors 1960. Two vols. Oblong 4to. 12 x 10.5 in.; 11 x 8 in. 24; 16 pp unpaginated. Colour-illustrated throughout several double-page. Colour-illustrated lithographed softcovers on thick paper stock for 1st vol 2nd w/ self-printed softcovers slight dustsoiling and thumbing to fore-edges minor age-toning to second still a VG set w/ dealership stamps at lower corners of Kasey Pontiac San Diego CA. First editions of these exceptional Mid-20th Century dealer’s catalogue enhanced with the lush illustrations by Fitzpatrick & Kaufman who were able on occasion to include their initials AF/VK hidden in their General Motors artwork. The 1961 Pontiac models included the Bonneville Star Chief Ventura and Catalina on 119/123†wheelbase and lighter weight frames than the 1960 models. Fitzpatrick b. 1919 launched his career by apprenticing under John Tjaarda at the Briggs Body Co. as a designer in 1937 and later designed the Darrin Packard One-Eighty sedan before working for General Electric during World War II. After the War Fitzpatrick illustrated for Mercury Lincoln Nash & Plymouth before being recruited for the 1953 Buick portfolio and later granted exclusive contract with GM. Kaufman b. 1918 was a Disney animator who worked on Fantasia and Dumbo and later with the Army Air Corps First Motion Picture Unit and teamed up with Fitzpatrick in 1951. Their original artwork created for GM through 1970 remain some of the most desired automobile art of the 20th Century. Worldcat locates 1 copy of each Premium at The Met; smaller at Hagley of 14 pp.; See: Illustrious Duo: The Art of Fitz and Van Driven to Write 2022. Pontiac Motor Division, General Motors, paperback
196061481Lansing MI & Los Angeles CA: Oldsmobile Division General Motors Corp.; E. Parke Branson Van Ness Oldsmobile Sept. 1960. 4to. 9 x 11.25 in. 31 1 pp. With colour illustrations & designs throughout some double-page self-printed colour-illustrated softcovers w/ cover art by Fitzpatrick & Kaufman minor shelfwear slight rubbing still VG copy w/ dealership label on front cover. First edition of this stylish dealer’s showroom brochure for the 1961 Oldsmobile automobiles which featured the introduction of the unique mid-size F-85 powered by a aluminum 215 cubic inch V-8 trying to compete with similar offerings by Buick and Pontiac. Featuring illustrations by Fitzpatrick & Kaufman who were able on occasion to include their initials AF/VK hidden in their General Motors artwork. The full size line-up models featured an all-new smaller streamlined and rounded body and chassis with perimeter “Guard Beam†frame and all-coil suspension replaced the leaf springs. All of the full-size Oldsmobiles were powered by the 394 cubic-inch Rocket V8 with the Dynamic 88 featuring a 2-barrel 250 horsepower version. The Super 88 could be purchased with a 4-barrel 394 Skyrocket V8 rated at 325 horsepower. Fitzpatrick b. 1919 launched his career by apprenticing under John Tjaarda at the Briggs Body Co. as a designer in 1937 and later designed the Darrin Packard One-Eighty sedan before working for General Electric during World War II. After the War Fitzpatrick illustrated for Mercury Lincoln Nash & Plymouth before being recruited for the 1953 Buick portfolio and later granted exclusive contract with GM. Kaufman b. 1918 was a Disney animator who worked on Fantasia and Dumbo and later with the Army Air Corps First Motion Picture Unit and teamed up with Fitzpatrick in 1951. Their original artwork created for GM through 1970 remain some of the most desired automobile art of the 20th Century. Worldcat locates 1 copy Lib. of MI similar brochure/poster at Hagley See: Illustrious Duo: The Art of Fitz and Van Driven to Write 2022. Oldsmobile Division, General Motors Corp.; E. Parke Branson, Van Ness Oldsmobile, paperback
202537890Mission British Columbia: Barbarian Press 2025. Softcover. Fine. Softcover. One of 120 copies Writes the press: Two of our Loose Canons pamphlets featuring neglected poets will be published in 2025: the first a second edition of the poetry of Elinor Wylie from our earlier version of Loose Canons One is expanded from 6 poems to 18; Loose Canons Two features poems by Edwin Arlington Robinson with a focus on his long dramatic monologue 'Ben Jonson Entertains a Man from Stratford'. This revival of the Loose Canons series is devoted to refreshng the reputations of once celebrated poets and poems that over time have become blurred by distance overlooked or simply ignored.As will be the case with later additions to the series each of these issues is intended to give a concise overview of the style and concerns of the poet in question. All the pamphlets will be hand-set in various types from the best editions of the texts and each will offer a brief biographical note with other information as necessary. They will be sewn into a variety of cover papers and will be of a uniform size. The Loose Canons series will continue intermittently but dependably. We intend them to provide a mix of writers in English from England Canada and America and we may possibly introduce some translations from other languages as the series gather strength.<br /> This volume is a gray textured paper softcover that is sewn into wraps of St. Armand Canal paper It is handset by Apollonia Elsted in Poliphilus and Blado with Caslon Antique for display and printed on Zerkall Cream Laid paper. The book was designed by Crispin Elsted who also selected the poems. In fine condition. Measures 7.25 x 12 inches. Unpaginated 18 pages. PRI/041825. Barbarian Press unknown
1900748841900 Paris, Maison de la Bonne Presse, sans date (vers 1900), in 8° relié demi-basane aubergine, dos à nerfs orné ; quelques frottis.
2754[Le Mont-sur-Lausanne], Editions de la Tour, 1991; In-4° carré, Reliure pleine toile d'éditeur, sous jaquette illustrée. Illustré de nombreuses reproductions en couleurs.
22373Normandie, [Pierre Bettencourt], 1942. In-12, 135 pp. 1 pl., broché, couverture originale illustrée (quelques petites rousseurs).
1885195560New York.: Harper's Weekly. 28 November1885. Three wood engravings on a single newspaper leaf two quarter-page each 14 x 11.5 cms and one half-page 18.3 x 13.3 cms; 40.8 x 27.8 cms sheet unrelated text on the verso light age-toning very good condition. Wood engravings from "Harper's Weekly" published on the day Mandalay fell to the British at the close of the third Anglo-Burmese War. The short-lived war led to the annexation of the Konbaung Dynasty into British India by the proclamation of the Viceroy and Governor-General of India Lord Dufferin on January 1 1886. The engravings are from original photographs likely military photographs recording the war. The engravings are captioned: <br> "The Shiva Dagon Pagoda at Rangoon"; "The Great Bell at Mengdoon" and one larger half-page illustration "Monastery Near the Eastern Gate of Mandalay". . Harper's Weekly. unknown
5052New york, Sidney Janis, 1969, 1 plaquette in-4 br. sous couv. ill., de 24 pp.
199070482N.P.: Cowboy Artists of America 1990. First edition. Limited edition with a leaf bearing signatures of 26 CA members. Quarto. Unpaginated but with biographies and photos of the artists on the verso and color images of their work on the rectos. Publisher's morocco-grain blue cloth with silver spine and cover lettering slipcase. A fine copy.Signatures include Fred Fellows Howard Terpning Bill Nebeker J. W. Hampton Grant Speed Mel Warren Ray Swanson Bill Owen and others. Cowboy Artists of America hardcover
193462202London: Arthur Barron 17 Fleet Street 1934. 8vo. ix 3 355 pp. Plum-coloured publisher’s cloth gilt lettering on spine minor shelfwear rubbing slight sunning to spine w/ d.j. lightning bolt design cover art chipping edgewear old tape repairs minor scuffing still VG/G copy. First edition of this second autobiographical memoir by the famed grifter con-man criminal thief and compulsive liar. Lucas 1903-1940 ran cons from age 14 until his death under 38 different aliases who managed to climb the British social ladder more than once and who entertained one and all with his tales of crime and managed to cover himself with a lucrative career as freelance journalist converted criminal and criminologist. In this memoir bearing both of his pseudonyms he managed to entice Sir Purves-Stewart into writing his foreword diagnosing the author with a personality disorder from alcoholism. When translated into French it was discovered by Surrealist poets and re-issued as “Moi et Moi.†Exceedingly scarce in original dustjacket. See: Matt Houlbrook Prince of Tricksters: the Incredible True Story of Netley Lucas Gentleman Crook 2016. Arthur Barron, 17, Fleet Street, hardcover
201232906San Francisco: Deeply Game Publications 2012. Hardcover. Fine. Hardcover. Number 45 of 55 copies. Signed by the author and book artists. Book artist Sara Press collaborated with Andrew Rottner to create this exquisite tribute to printing's golden age. "The story by Christina Lauritsen mis-remembers H.C. Andersen's classic tale of the same name transforming it into a story of revelation and madness. The visual progression of the book mirrors the plot pitting the beauty of the decorative arts against the intense and unpredictable messiness of human experience. This book confronts the inevitability of loss and bows to intellectual freedom and its attendant risks." artists' statement. The book is printed in Garamond and Bembo types on Moab Entrada paper. It features two 26 inch wide foldouts with illustrations by Rottner. The striking cover is done from a cut-marbled-paper and brocade. The book measures 7 x 9 inches. It is unpaginated. Deeply Game Productions creates and distributes the art works of Sara Press and her collaborators. Sara L. Press is a photographer printmaker and book artist based in the San Francisco Bay Area. Many of her projects examine peculiar areas of overlap between nature and culture for example: dog fighting feral children and our co-evolution with snakes. Sara has also wrestled with the relationship between creativity and the scientific method. Recently Sara has turned to constructions of masculinity and femininity in our culture such as human bloodsports and altered fairy-tales. Her work can be seen in public collections around the country and are also in many library and private collections. A lovely book in fine condition. PRI/021919. Deeply Game Publications hardcover
196731536Exemplaire Maurice Genevoix, avec envoi signé Blois, s.é., (31 avril) 1967. 1 vol. (210 x 270 mm) de 151 p. et 1 f. Broché, sous couverture illustrée. Remarquable catalogue consacré à Dunoyer de Segonzac pour l'exposition au Château de Blois, de mai à juillet 1967. Préface de Roger Passeron. Envoi signé: «Pour Maurice Genevoix, cet [Hommage à Dunoyer de Segonzac] en cette Ville de Blois – dans cette Touraine, patrie de Pierre de Ronsard. En très amical Hommage, A. Dunoyer de Segonzac, sept. 1967».
63846Eight large aquatint etchings each approx. 14" x 18" on ca. 17" x 24" sheets; titled as follows: "Pirouette;" "Ballotade;" "Piaffe;" "Spanish Walk;" "Levade;" "Capriole;" "Pasade;" and "Croupade;" each signed in pencil lower right; edition of 50. In the original hinged gallery mats; small areas of discoloration to margins from mounting tape well away from printed area; one mat lacking a portion of border; still close to Fine. Together with an additional 47 related original artworks signed and unsigned including 29 etchings being proofs and preliminary states of the finished prints 15 sheets of pen-and-ink studies and three watercolors. Also present are several offprints of Helen Hill Miller's article "Ballet of the White Stallions: The Lipizzaners of Vienna's Spanish Riding School" published in the December 1960 issue of Esquire for which these prints were originally commissioned; two copies of the printed poster advertising Groth's 1960 exhibition at the Janet Nessler Gallery titled "The Horse in Sport;" the entirety housed in a hand-made art-paper portfolio boldly brush-signed and with a mounted signed ink sketch above the signature. A significant archive demonstrating the legendary illustrator's technique from preliminary sketch to finished etching. Many of the sketches and proofs are heavily marked-up in the artist's hand; others are signed and clearly intended to be finished works. The finished etchings printed in deep maroon ink on a white ground are stunning and apparently rare with no examples having been recorded in the secondary market since their original appearance at the Nessler Gallery in 1960 where they sold for $50 apiece - a princely sum at the time reflecting Groth's lingering fame as a battlefield illustrator during the Second World War; but also indicative of the great refinement of these works which while retaining a good deal of Groth's famously gestural style apparent in his studies and sketches for these works are exquisitely composed balancing the athleticism and the classical elegance of their subjects. Miller's article was one of the first to introduce the Lipizzaner Stallions to a popular American audience. Not until 1970 would the Spanish Riding School perform its first world tour introducing classical dressage in its highest form to a broad and appreciative public. PROVENANCE: from the archive of the artist acquired by us in 2015. unknown
022563Vienna/Wien: Austria Tabak/Die Damen presumed Publishers. Spiral Bound. Very Good. Folio. ca 1990. Spiral bound 19 ½ by 20 ½ inches. 15 glossy sheets and cardboard backing. A conceptual art piece created by Die Damen and commissioned by the Austrian tobacco company Austria Tabak. Die Damen was a feminist art collective founded in 1987 by ONA B Evelyne Egerer Birgit Jürgenssen and Ingeborg Strobl. Their work consisted mostly of performances and staged pieces that highlighted gender stereotypes and roles exaggerating their sexuality through costumes/clothing that were associated with gender stereotypes. Most of their work was based on performance or action thus little paper artwork was produced. As the Generali Foundation website states better than we can: "Their themes were seemingly banal but in reality subversive. Taking an ironic perspective they exaggerated the predominant clichés pertaining to gender roles. . Body language and gestures as well as the design and styling of outfits and accessories were the important forms of impression in these actions. DIE DAMEN usually performed wearing identical costumes. They always emphasized their feminine sexuality by using various clichés such as classic business dress or kitchen aprons thus presenting a socially critical view of the passive roles traditionally apportioned to women. . DIE DAMEN also addressed everyday domestic scenes at home and the tough reality of down-trodden housewives. With their staged parodies and caustic humor they reflected back the male gaze and also supremely demonstrated the "cool" distance typical of the 1980s." This calendar was commissioned by Austria Tabak creating a subversive look at advertising and women depicted in advertising. Rather than portray glamourous scenes of smoking and cigarettes DIE DAMEN subtly displayed evidence of smoking or cigarettes among scenes of housework and everyday activities. VERY GOOD condition. Minor bumping and curling at the corners. Austria Tabak/Die Damen, presumed Publishers unknown
1994159586San Francisco: N.p. 1994. Vintage flyer for a series of readings and performances at Mad Dog in the Fog pub held on Thursday October 6 1994. The pub was then located at 530 Haight in San Francisco.<br /> <br /> Noted as a Jason Neil Presentation the evening featured readings by Stephen Fowler and Matt Borruso and performances by Desmond Shea and Bela Agache with D.J. Essen. <br /> <br /> 8.5 x 11 inches. Small pinholes to the corners else Near Fine. N.p. unknown
1902838621902 Saint-Etienne, Théolier, Thomas, 1902, petit in 8° broché, 27 pages ; nombreuses gravues in et hors-texte ; couverture illustrée.
197083536Berkeley: Free University of Berkeley 1970. First Edition. Quarto 27cm. Pictorial staple-bound wrappers; 56pp; illus. Light wear to covers; text slightly age-toned; Very Good. <br /> <br /> Course catalog and prospectus for the Free University of Berkeley presented in the format of an underground comic zine. The course descriptions are by various illustrators none of whom appear to be credited. The Free University allowed students to register for "any number of courses" for a one-time registration fee of $10. Instructors worked on a volunteer basis; among the subjects offered were self-defense dance beekeeping body massage yogurt and "theory of orgasm" though not included in the catalog we imagine the practicum must have been interesting. The FUB ran from 1966 to 1972. Free University of Berkeley unknown
32142Paris, Ernest Bourdin, s.d. (1840). 3 volumes in-8 reliés demi-basane marron (25,5 x 17,3 cm) titre et ornements dorés sur le dos, (4)-VIII-482, (4)-576 et (4)-482-(2) pp. Complet en trois volumes ornés de 1000 gravures sur bois in et hors-texte, rousseurs claires inégalement. 3,1kg.- Reliures solides en bon état.
016476[Georges Gasté (1869-1910), peintre orientaliste, photographe, actif en Afrique du Nord, Egypte et aux Indes] Louis-Jules Dumoulin (1860-1924), peintre, président de la Société coloniale des artistes français. L.A.S., 6 [.] 1909, 2p in-8. Au cousin germain de Gasté, le marchand de tableaux Henri-Louis Bérard (1879-1919). Dumoulin se réjouit de la participation de Gasté à son salon et signale que les artistes les plus favorisés, dont Gasté, n'ont que 2.50m maximum et que les tableaux doivent nécessairement avec un « caractère de colonie française ». Petites déchirures et petits trous sans atteinte au texte. [378]
193960959San Francisco CA: San Francisco Bay Exposition 1939. 8vo. 116 pp. With oblong folio. 19.25 x 16 in. colour pictorial map frontisp. detailed sections of island and exhibits in blue on verso fold creases numerous photo illustrations text maps diagrams stepped thumb tabs at outer fore-edge. Blue-cloth backed softcovers featuring the striking Art Deco cover art by Simon “Si†Vanderlaan 1904-1986 famed pin-up artist and illustrator who worked for Walt Disney studios during World War II minor scuffing very minor age toning shelfwear still VG bright copy from the library of Prof. Marvin Nathan. Revised 1939 edition of this excellent guide to the first year in 1939 of the Golden Gate International Exposition including “Cartograph†revealing all of the Art Deco architectural wonders and surrounding areas of Treasure Island. The pictorial maps were issued separately as well as with the “Official Guide Books.†Ruth Taylor White’s 1902-1985 delightful pictographic maps or cartographs included depictions of the Territory of Hawaii in which she had driven or traveled to every corner of the Islands and the Grand Canyon for her for her brother’s book “Grand Canyon Country.†Later Little Brown requested an entire atlas which was published as the very scarce Our U.S.A. “A gay geography.†Her cartographs influenced the style of American cartographic illustration for decades afterwards. See: Griffin Mapping Wonderlands: Illustrated Cartography pp. 192-193; Field MapCarte 29/364: Our U.S.A. A Gay Geography 2014. San Francisco Bay Exposition, paperback
1875174361London.: Walter. 1875. Fine hand coloured lithograph heightened with gum arabic 53.8 x 36.8cm plate size 55.7 x 38.7cm sheet size toning at the plate mark and to the margins verso of the plate browned but the face of the plate clean and unmarked small tear to the inner margin not affecting the plate. A very good example. Magnificent plate no.13 from the 7th and final volume of John Gould's magisterial "Birds of Asia" published over a twenty-three year period 1850-1883. <br> <br>"Numerous as have been the acquisitions rendered to ornithology during the last few years by the opening up of the great countries of China Yunnan and the vast territories lying between our Indian frontier and the Celestial Empire here has not been one fraught with greater interest than the fine Pheasant figured in the accompanying Plate. <br> <br>This beautiful bird is a native of Borneo and at first sight it might seem as if it might have been kept in one or other of the genera of gallinaceous birds.but on closer inspection it will be found to differ not only from these birds but from every from of Pheasant yet discovered; and I quite agree with Mr Sharpe who has had the honour of describing this magnificent species that its generic separation was necessary." John Gould from the text to accompany the plate. . Walter unknown
190562923Berlin, Rich. Eckstein Nachf. (H. Krüger), o. J. (um 1905). Fol. 49 auf Untersatzkartons mont. Tafeln nach Aktfotografien, lose in OLwd.-Mappe m. mont. Deckelillustration.
