Estampes

Catalogue of Interesting and Valuable Autograph Letters... Which will be Sold by Auction, by Messrs. S. Leigh Sotheby & Co... on Monday, July 10th, 1848. [Compton & Ritchie, Printers], 1848. 35pp., final leaf bound in reverse, 482 lots. [Bound with:] Catalogue of a Collection of Rare Books... Illustrated with Engravings... more Particularly those Connected with London and Middlesex... Which will be Sold by Auction, by Messrs. S. Leigh Sotheby & Co... on Thursday, July 13th, 1848.

19,[1]pp., 278 lots. 2 Works bound as one, presentation inscription from Bullock to William Upcott, cont. half morocco, marbled boards, rubbed, head of spine torn.

Catalogue of Maps, Prints, Drawings, Etc. Forming the Geographical and Topographical Collection attached to The Library of His late Majesty King George the Third, and Presented by His Majesty King George the Fourth to The British Museum.

Folio (430 x 320 mm), [4], 373, [3], liii, [1]pp., printed for private circulation only in 200 copies, early armorial bookplate to front paste-down, cont. half blue morocco, marbled boards, slightly rubbed otherwise a very good copy indeed. Printed uniformly with the catalogue of books and, like that work, printed only for presentation. The map collection was an important constituent of the Royal library (Samuel Johnson recommended buying maps locally in his famous letter to Barnard); The King's Topographical Collection of around 50,000 maps, charts, prints and drawings formerly owned by George III and donated to the Library by George IV, included antiquarian drawings by William Stukeley, large collections of views by Samuel Hieronymus Grimm, the Bucklers and Edward Blore, and the drawings from Captain Cook's voyages or Robert Hay's of Egypt. It was reprinted in 2 vols. 8vo in the same year for commercial distribution. Martin, Privately Printed Books, p. 259.

Catalogue of Maps, Prints, Drawings, Etc. Forming the Geographical and Topographical Collection attached to the Library of His late Majesty King George the Third, and Presented by His Majesty King George the Fourth to the British Museum.

First edition, 2 vols., 8vo (215 x 140 mm), [4], 732; [4], 535, [1, blank], clxxxiv (index)pp., with half-titles, small neat stamp to title, recent green cloth, a very nice set. The map collection was an important constituent of the Royal library (Samuel Johnson recommended buying maps locally in his famous letter to Barnard); The King's Topographical Collection of around 50,000 maps, charts, prints and drawings formerly owned by George III and donated to the Library by George IV, included antiquarian drawings by William Stukeley, large collections of views by Samuel Hieronymus Grimm, the Bucklers and Edward Blore, and the drawings from Captain Cook's voyages or Robert Hay's of Egypt. A privately printed folio edition was printed in the same year.

Catalogue of Prints in the Africana Museum and in books in the Strange Collection of Africana in the Johannesburg Public Library up to 1870 [TWO VOLUME SET]

TWO VOLUME SET. VOL.1: A-K / VOL.II: L-Z and index. [BOTH VOLUMES]: 350x250 mm. Unpaginated. Hardcover. Gilt lettering on cover and spine. Cover corners and spine edges slightly bumped. [VOL.II]: Cover slightly curved. Rear cover slightly rubbed. Rear cover edges slightly bumped. Else both volumes in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.

Catalogue of the Late Rev. Mark Noble's British Portraits, Collected to Illustrate Granger's Biographical History of England, and Noble's Continuation; To which is added the Portraits and Topographical Prints of the late B. C. Cocker, Esq. Which will be Sold by Auction, by Mr. Evans.... on Saturday, December 1, and Three following Days.

[2],35,[1]pp., recent paper wrappers, uncut. From the materials left by the author and his own ample collections Noble compiled a useful three-volume Continuation (1806) of James Granger's Biographical History of England.

Catalogue of the Library, Prints, Drawings, Paintings, Antiquities, Miniatures, China, &c.

24pp., stitched as issued, 346 lots. Not in B.M. Catalogue of English Book Sales.

Catalogue of the Twelfth Annual Exhibition of Engravings, Woodcuts, Etchings of the XV and XVI Centuries : March 1st to March 27th, 1937

This is a very good softcover copy with just light wear. Completely clean inside, Covers toned and small neat previous owner name at top edge of front cover (illegible). This is the 12th annual exhibition. Illustrated throughout in black & white. Covers the Netherlands, Italy, France and Germany. 9" high X 6" wide, 75 pages. Limited to 1500 copies.

Catalogue of the Valuable Library and the Collection of Old Play-Bills and Theatrical Prints of Sir Henry Irving... Which will be Sold by Messrs. Christie, Manson & Woods... on Monday, December 18, 1905.

Large 8vo, 69, [1]pp., some prices and buyers names supplied in pencil, orig. printed wrappers, a little soiled, centrefold crease, 482 lots.

Catalogue of the Very Choice and Valuable Collection of Prints... Comprising Principally of English and Foreign Portraits of the Great Men of Europe from the time of Queen Mary to James Second... a most splendid Selection of the Works of Hogarth... Which will be Sold by Auction, by Messrs. S. Leigh Sotheby & John Wilkinson... On Monday, 19th of February, 1855, and Two following Days.

[iv],25,[1]pp., prices supplied in pencil, 560 lots, disbound, preserved within a folding card wallet. Ralph Bernal was for many years chairman of Way and Means, and committees of the House of Commons, and M.P. for Rochester.

Catalogue of the Very Choice Collection of Early Engraved British & Foreign Portraits, Formed during the last Half Century by the late Mr. William Scott... Which, by order of the Executors, will be Sold by Auction, by Messrs. S. Leigh Sotheby & John Wilkinson... on Monday, the 25th of May, 1857, and following Day.

[ii],45,[1]pp., prices supplied in pencil, 439 lots, disbound, final couple of leaves a little frayed at margins, preserved within a folding card wallet.

Catalogue raisonne de l'oeuvre grave de Jacques Aliamet d'Abbeville

The rare catalogue raisonne of Aliamet's prints. 262 items described in great detail. 14 facsimiles, mostly fine full-page photogravures. ONE OF ONLY 200 COPIES PRINTED, ALL ON FINE WOVE PAPER. 4to. Original wraps. Uncut and unopened. FINE AND BRIGHT. Never reprinted and very rare.

Catalogue raisonne de l'oeuvre grave de Jean Daulle d'Abbeville, precede d'une notice sur sa vie et ses ouvrages [with] Catalogue raisonne de l'oeuvre grave de Jean-Charles Le Vasseur d'Abbeville, precede d'une notice sur sa vie et ses ouvrages

Two volumes bound together. FIRST EDITIONS of these two scarce catalogues raisonnes of printmakers from Abbeville. Daulle: 2 leaves; XXVIII, 138 pp. 174 items described. Le Vasseur: 86 pp. plus wood-engrved portrait of the artist. 166 items described. 8vo. Slightly later quarter cloth and marbled boards. Light wear to binding, light foxing internally. Else very good, and extremely hard to find.

Catalogue raisonné du cabinet d'estampes de feu monsieur Winckler… contenant une collection des pièces anciennes et modernes de l'école Flamande-Hollandoise dans une suite d'artistes depuis l'origine de l'art de graver jusqu'à nos jours, en deux parties

2 parties en 1 volume (tome 3 complet): xii + 1183 pp., 16cm., reliure cart. (dos restauré), qqs.rousseurs, rare, dans la série "Catalogue raisonné du cabinet d'estampes de feu monsieur Winckler, banquier et membre du sénat à Leipzig…" tome III, [contient des biographies des artistes des Pays-Bas, et une description de 6703 oeuvres], S81885

Cathedral and Tower of Pisa. N. p., [mid 19th century].

Two coloured engravings, ca. 195 x 135 and 205 x 120 mm (neatline) on 4to and oblong 4to. Copperprint engraving and gouache on paper. With gouached border. Charming views of the famous monuments, bearing testimony to the continuous interest in the "Torre pendente di Pisa" that is shown in both prints. The engraver Ranieri Grassi is exclusively known for his vedutas of Pisa, the city's monuments, and their interiors. - The view of the Leaning Tower has an insignificant pinch fold affecting the print and a more extensive edge tear. Three edges bent.

Cavalier - 1879.

Paris, Imp. Eudes, Heliog. Dujardin, s.d. (vers 1900); 450/317 mm, 1 pp., une feuille. Bon état.

Cendrillon. Robe du soir de Doucet (pl.29, La Gazette du Bon ton, 1920 n°4)

- Lucien Vogel éditeur, Paris Mai 1920, 18x24cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signée en bas à gauche de la planche. Gravure originale réalisée pour l'illustration de La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sœur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESCRIP

Chagall

Very large format book in dark blue heavy weave cloth hardback with damage to lower 1/2" of front cover at hinge; scuffing to covers. Book is in excellent condition. Text/interior is clean and free of marking of any kind with huge full page, sometimes dual page prints throughout, at least 75 in number. Dust jacket shows general wear, damage to same lover spine area, chipping at corners.

Chagall

Very large format book in dark blue heavy weave cloth hardback in excellent condition with a few very small, light marks to covers. Text/interior is clean and free of marking of any kind with huge full page, sometimes dual page prints throughout, at least 75 in number. Dust jacket shows light shelf wear only, no tears.

Chagall in Jerusalem

Contains Lithography. 32x25 cm. 191 pages. Gilt hardcover with dust jacket. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.

Chaki

Large format book of Yehouda Chaki's works containing 111 pages of full color prints, usually one print per page. With chronology, exhibitions and collections and select bibliography at back. Book is in excellent condition. Binding is solid and square, covers have sharp corners and are creaseless, as is spine, exterior shows light shelf wear only, text/interior is clean and free of marking of any kind.

Champ de courses. Manteau de fourrure de Max-a. Leroy (pl.23, La Gazette du Bon ton, 1924-1925 n°3)

- Lucien Vogel éditeur, Paris 1924-1925, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour l'illu

Chanson de route. Lithographie tir?e ? 100 exemplaires. Sign?e au crayon. (37x57 cm).

Chapeau de Camille Roger (pl.67, La Gazette du Bon ton, 1921 n°9)

- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en haut à droite de la planche. La Gazette du bon ton, l'une des plus bell

Chats on Japanese prints.

8vo, 21.6cm. Pp. 456,[2], frontisp., 56 black & white plates., several figs., refs. Orig. boards in dust-jacket. Slight rubbing to jacket, fine otherwise. - Unaltered reissue of the original edition of 1915.