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Chromolithography on thick wove paper, 473 x 315 mm sheet, 372 x 260 mm image, black ink stamp “5050” to reverse. Signed on stone "Jules Gaildrau"; below centre: "GÉNERAL DE DIVISION, GRANDE TENUE DE SERVICE"; Bottom left: "Paris, J. Gaildrau, rue de Seine, 16"; right: "Imp. Lemercier, Paris." Joseph Lemercier (French, 1803 – 1887) – printer. Jules Gaildrau (French, 1816 – 1898) – artist. -
Lithography and etching on wove paper432 x 362 mm, black ink stamp “5022” to reverse, horizontal and vertical centrefolds. Depicts Diogenes (Ancient Greek, 412/404 – 323 BC) beside his barrel and extinguishing his torch when approached by Napoléon III ahorseback. Top: "1857 | HONNEUR ET PATRIE"; lettering on ribbons (top-down): SCIENCES, TRAVAIL, COMMERCE, ARTS, CHARPENTIERS, IMPRIMEURS, "MECHANICIENS, AGRICULTEURS, MAÇONS, FONDEURS, TERRASIERS, CIZELEURS, CARRIERS, ORFEVRES, BIJOUTIERS, CHAPELIERS, MENUISIERS, VERRIERS, SERRURIERS, TAILLEURS, SELLIERS, POTIERS, PORCELAINIERS, CORDONNIERS, TISSERANDS, INDUSTRIE, COMMERCE | CALENDRIER DE L'ABEILLE | EMPIRE, FRANÇAIS. Below left: "lith. Barousse Cour du Comm. 11 et 12. Paris"; right: "Dépôt rue des Cannettes, 20. Paris"; bottom: "Et, pour trouver un homme, il quitte son tonneau, | Voyant Napoléon, – il éteint son flambeau!" [And, to find a man, he leaves his barrel, | Seeing Napoleon, – he extinguishes his torch!]. Six months on the left and six months on the right-hand side of the calendar, surrounding the image. -
Hand-coloured woodcut on wove paper, 460 x 356 mm; black ink stamp “5055” to reverse. Top centre: "NAPOLÉON III ET LA GARDE IMPÉRIALE"; right: "№ 86". Napoléon III ahorseback in middle, beside (top to bottom): Escadron des cent Gardes — Cuirassiers 1er et 2me regiment; Gendarmes à cheval. — Lancier., Dragon de l’Impératrice.; Guide., Chasseur à cheval. — Artillerie à cheval, Train des équipages.; Gendarme. Génie. Voltigeur. Grenadier. Sapeur. Sapeur. Chasseur. Artillerie. Zouave. Tambour. Bottom left: Imprimerie Lith. de Pellerin à Épinal; right: Propriété de l’Éditeur. Déposé. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Hand-coloured woodcut on wove paper, 366 x 460 mm; black ink stamp “5057” to reverse. Caption cartoon in 2 tiers. Top: OUVERTURE DE 'EXPOSITION UNIVERSELLE DE 1855. CORTÈGE IMPÉRIAL. Captions top to bottom: Garde de Paris. — Les Cent Gardes. — Cuirassier. — Grenadiers. Middle: Voiture de sa Majesté Napoléon III. | Bottom: Grenadier. — Musique des Guides. — Piqueur de l’Empereur. — Gral Anglais — Généraux — Colonel de Cuirassiers | de la Garde — Généraux. Below left: Imprimerie Lith. de Pellerin, à Épinal; right: Propriété de l’Éditeur. Déposé. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Hand-coloured woodcut poster on wove paper, 622 x 417 mm; black ink stamp “4859” to reverse, horizontal centrefold. In a double frame, top: LOUIS-NAPOLÉON BONAPARTE, | REPRÉSENTANT DU PEUPLE, | Président de la République française. Text under the image ; bottom left: (Déposé.— Propriété de l’Éditeur.); right: Fabrique de PELLERIN, Imprimeur-Libraire, à ÉPINAL. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Lithography poster on wove paper, 492 x 614 mm; black ink stamp “5036” to reverse, vertical centerfold. Image in frame; under the frame left: "J. B. Gadola, éditeur. Cours de Brosses 1, à LYON."; right: "Lith LAURANT & Cie r. de Bernardins 34, Paris." Title and text below the image. Jean-Baptiste Gadola (French, 1818 – 1870) – publisher. -
Hand-coloured woodcut on wove paper, 460 x 363 mm; black ink stamp “5054” to reverse. Four tiers with groups of people dressed in uniform, captioned: Bedeau — Suisse — Chanoines — Évêque — Porte croix — Évêque — Cardinal — Cardinal | Généraux français — Le prince Napoléon — L’Empereur et l’Impératrice — Marraine — Le Prince — Parrain | Meur l’Archevêque | Porte crosse Diacre servant | Préfet — Sénateur — Conseiller de cour — Président — Dames de la cour — Gral Piémontais — Chef arabe | Aide-de-camp de l’Empereur — Chambellan de l’Empereur — Ministre d’état — Ambassadeur de Turque | Ambassadeur d’Angleterre — Ambassadeur d’Autriche — Ambassadeur de Russie — Ambassadeur de Prusse — Gral anglaise — Lord anglais || Bottom left: Imprimerie Lith. de Pellerin, à Épinal; right: Propriété de l’Éditeur. — Déposé. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Hand-coloured woodcut on wove paper, 487 x 365 mm; black ink stamp “5056” to reverse. Top left: imperial coat of arms; centre: "FAMILLE IMPERIALE. GRANDS DIGNITAIRES DE L'EMPIRE, MAISON DE L'EMPEREUR."; right: "№144." Image of the imperial family under imperial eagle and standards; besides – four tiers of captioned cartoons. Bottom left: "Imprimerie Lith. de Pellerin, à Épinal"; right: "Propriété de l’Éditeur. — Déposé." Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Hand-coloured woodcut on wove paper, 472 x 365 mm; black ink stamp “5275” to reverse. Top centre: "LE PRINCE IMPÉRIAL"; right: "№143." Image in the middle: Prince Impérial, with his father, conducts a review of the children's army "REVUE DES PUPILLES DE LA GARDE". Besides – five tiers of captioned cartoons. Bottom left: "Imp. lith. de Pellerin à Épinal"; right: Propriété de l’Éditeur. Déposé." Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Hand-coloured woodcut on wove paper, 610 x 390 mm; black ink stamp “5207” to reverse, attached to a larger sheet of thick paper with a red ink stamp: “COLLECTION JEAN-CLAUD LACHNITT | REPRODUCTION INTERDIT”. Top: Baptême de S. A. le PRINCE IMPÉRIAL. 14 Juin 1856; image of baptism of Prince-Impérial; two-column text with a small loss in the lower left corner (C'est à cinq heures du soir que le cortège impérial quitta le Palais des Tuileries. De nombreux escadrons de cavalerie, musique en tête ouvraient la marche. ...); bottom under the text: "Fabrique d'Images de GANGEL, à Metz." — "49". -
Hand-coloured chromolithography on wove paper, 600 x 470 mm; black ink stamp “4921” to reverse, horizontal and vertical centrefolds. Image of Napoléon III on horseback, in a frame; lettering under the frame: 34 — Déposé | NAPOLÉON III | EMPEREUR DES FRANÇAIS. | Lith. de Gangel frères et P. Didion, à Metz. || Gangel frères et P. Didion (Metz) – printer/publisher. Paulin Didion (French, 1831 – 1879) -
Three-quarter head photographic portrait of British actress Audrey Hepburn, in the American film Breakfast at Tiffany's, shot in 1961 by Paramount Pictures / contemporary gelatin silver print. Inscription to verso (graphite): Audrey Hepburn 1961 | F Breakfast at Tiffany's || Dimensions: 256 x 201 mm. Audrey Hepburn [née Ruston] (British, 1929 – 1993) Paramount Pictures Breakfast at Tiffany's -
Three-quarter half-length seated portrait of American filmmaker and actor Woody Allen in a scene from the drama film The Front (1976), shot by Columbia Pictures in 1976, autographed on a light area of the image. Dimensions: 245 x 192 mm; image 217 x 192 mm. -
Three-quarter waist portrait of French actor Jean-Paul Belmondo in the film Peur sur la Ville, directed by Henri Verneuil in 1975. Autographed in black ink on a light area of the image above the head: “Pour Scott Schutte | Bien amicalement | J.P. Belmondo”. Paper watermarked "Agfa" in a diamond. Dimensions: 147 x 100 mm -
Two hardcover volumes, 17 x 11.5 cm, collated in-8vo, uniformly bound in dark grey mottled calf bordered with gilt fillet, flat spine with gilt lettering in compartments outlined in gilt; top edge gilt, text and plates printed on dense wove paper (Japanpapier). Privately printed by Gustav Röttig & Sohn (Ödenburg) in 800 copies, of which this is copy № 16, signed by von Bayros in 1st vol. Each volume is illustrated with four heliogravures (title-page and three plates) after drawings by Franz von Bayros. According to the seller, this is one of only 35 copies of the deluxe edition on Japanpapier, a fact which was mentioned by the bibliographers but not in the imprint. Bookplate to front pastedown in each volume, lettering to bottom “Ex libris Dr. phil. Rudolf Ludwig”, 120 x 100 mm, heliogravure after von Bayros. Pp.: vol. 1 [4] 1-198 plus engraved t.p. and 3 plates. Vol. 2: 1-204 [2] plus engraved t.p. and 3 plates. Title-page: DIE MEMOIREN | DER | FANNY HILL | VON | JOHN CLELAND | ESTER (ZWEITER) BAND | PAPHOS IM JAHR DER | CYTHERE | MDCCCCVI || Author of the text: John Cleland (British, c. 1709 – 1789). Translator: Franz Blei [Dr. Erich Feldhammer] (Austrian, 1871 – 1942). Illustrator: Franz von Bayros (Austrian, 1866 – 1924). Provenance: Dr. Phil. Rudolf Ludwig. Catalogue raisonné: The amorous drawings of the Marquis von Bayros. — New York: Cythera Press, 1968. The Beautiful Maiden of Pao, pp. 31-38. Seller's Description: Erster [und] Zweiter Band. Paphos [Wien, C. W. Stern], im Jahr der Cythere 1906. Mit sechs Tafeln und zwei illustrierten Titeln nach Franz von Bayros, alle zweifarbig. Grau marmorierte Originalkalblederbände mit Rücken-, Deckelkanten- und Kopfschnittvergoldung. Privatdruck. – Eins von 35 Exemplaren der Luxusausgabe auf Japanpapier, im Druckvermerk von Band I von Bayros signiert. – Die Übersetzung stammt von Franz Blei, der hier unter dem Pseudonym Dr. Erich Feldhammer genannt wird. Als Textvorlage diente die Ausgabe London 1749. – Gedruckt wurde bei Gustav Röttig & Sohn in Ödenburg. – Sehr seltene Vorzugsausgabe, die zwar bei den Bibliographen, nicht aber im Druckvermerk genannt wurde. – Fast tadellos. – »Dieses Werk ist eines der berühmtesten in der erotischen Literatur« (Stern-Szana). Nach Hinweis bei Brettschneider wurde die Auflage beschlagnahmt. – Exlibris Dr. phil. Rudolf Ludwig, Wien (Heliogravüre nach Zeichnung von Franz von Bayros, Brettschneider 156) in beiden Bänden. 17 : 11,5 cm. [4], 198, [2], [4], 204, [2] Seiten. Zusammen 8 Tafeln. Brettschneider 38. – Hayn/Gotendorf I, 618. – Stern-Szana 243 und ausführlich S. 222ff -
A portfolio of nine heliogravures after Jules Pascin. Cloth-backed cardboard portfolio 420 x 335 mm with 9 heliogravures on slightly tinted india paper, each numbered in pencil and mounted into a passe-partout 410 x 318 mm. Copy № 25 out of 40 printed on india (chine) paper. Copy № 25 of 40. Title (red and black): EROTIKON | PAR | PASCIN | ★ | BRUXELLES | MCMXXXIII || Limitation: CET | ALBUM | A ÉTÉ TIRÉ | A | QUARANTE ET UN EXEMPLAIRES | NUMÉROTÉS | DONT | UN EX. SUR PAPIER ANCIEN | & | QUARANTE EX. SUR CHINE | No (ms 25/40) || Catalogue raisonné: Dutel III № 1498. Seller's description:Neun Heliogravüren. 1933. Meist ca. 30 : 35 cm. Nummeriert. Exemplar 25/40 (Gesamtauflage 41). – Die Heliogravüren auf leicht getöntem China, jedes Blatt mit Bleistift nummeriert und in Passepartouts montiert. – Die neun Passepartouts eingelegt in zwei Büttenumschläge, einer mit Titel und dem nummerierten Auflagenvermerk, der zweite unbedruckt, ferner Büttenumschlag mit Titel in Rotdruck und Halbleinenchemise. – Die Heliogravüren erschienen 1933, drei Jahre nach Pascins Tod bei Daragnes in Paris mit der fingierten Angabe »Brüssel«. – Das berühmte Mappenwerk bildet eine der großen Seltenheiten der erotischen Kunst. Die Motive Pascins beschreibt das Bilderlexikon als »eine Art ›Boheme-Rokoko im Montmartre-Milieu‹« und lobt den Künstler: »Er ist ein außerordentlicher Zeichner, der es versteht, bei allem Zynismus, der seinen exhibitionistischen Charakter nicht verleugnet, auf diesem Kulturdünger eine neuartige Blume voll graziöser Schönheit erblühen zu lassen.« Mappe: 42 : 33,5 cm. – Der äußere Büttenumschlag mit leichtem Wasserrand. – Zwei Heliogravüren minimal stockfleckig, sonst tadellos und absolut vollständig. Dutel 1498 (mit Auflagenvarianten). – Der kalte Blick S. 198ff. – Bilderlexikon II, 718. -
Hardcover volume, 38.3 x 26 x 3.8 cm, pictorial boards, lettering to front cover and spine, pp.: [1-6] 7-421 [3], ils. Title-page: Cesare Leonardi Franca Stagi | THE ARCHITECTURE | OF TREES | Introduction to the new edition | ANDREA CAVANI, GIULIO ORSINI | Translated from the Italian by | NATALIE DANFORD | Princeton Architectural Press | New York || Cesare Leonardi (Italian, 1935 – 2021) Franca Stagi (Italian, 1937 – 2008) Natalie Danford (American, b. 1968) -
Hardcover volume, 25.3 x 19.3 cm, green cloth with gilt lettering to front and spine, pictorial dust jacket, pp.: [1 blank] [i-viii] ix-xxiii [xxiv blank] [2] 3-297 [298 blank] [8 blanks], 26 plates, unpaginated. MS inscription in black ink to ffl “David Tatham 1969”. Title-page: The World of | HOGARTH | Lichtenberg's Commentaries | on Hogarth's Engravings | TRANSLATED FROM THE GERMAN | AND WITH AN INTRODUCTION BY | INNES AND GUSTAV HERDAN | HOUGHTON MIFFLIN COMPANY BOSTON | The Riverside Press Cambridge | 1966 || Illustrations: A Harlot's Progress; Marriage-à-la-Mode; Strolling Actresses Dressing in a Barn; A Midnight Modern Conversation or The Bacchanalians; A Rake's Progress; The Four Times of the Day: Morning, Noon, Evening, Night. Edition: First printing w; Printed in the United States of America. Provenance (possibly): David Tatham (American, 1932 – 2023) Contributors: George Christoph Lichtenberg (German, 1743 – 1799) Innes Herdan (British, 1911 – ?) Gustav Herdan (German, 1897 – 1968) William Hogarth (British, 1697 – 1764) -
Hardcover volume, 17 x 12.5 cm, bound in lilac cardboard, lettering to covers and spine, vignette by Boris Rybchenkov to front board; pp.: [1-4] 5-188 [4]. Pencil ms to h.t. "Самалюк | Рай Кунцевское | Зав. роно" (Самалюк, зав. кунцевским районным отделом народного образования)ю Title-page: И. Г. МАЛЕЕВ | ГОРОЖАНЕ | МОСКОВСКОЕ | ТОВАРИЩЕСТВО | ПИСАТЕЛЕЙ || Print run: 5,200 copies. Contributors: Малеев, Игорь Александрович (Russian, 1904 – 1936?) – author. [Igor Maleyev] Рыбченков, Борис Федорович (Russian, 1899 – 1994) – artist. [Boris Rybchenkov] -
Hardcover volume, collated 18mo, 130 x 85 mm (2 parts in one). Contemporary burgundy morocco outlined with gilt triple fillet, flat spine gilt in compartments, brown morocco label gilt, all edges gilt, gilt dentelle, text printed on slightly blue laid paper with illegible watermark; dark blue endpapers, Tony Fekete (T. F.) bookplate by Wahorn to front pastedown. Frontispiece and 14 engraved plates by Elluin after Borel, with guard tissue. Graphite ms to h.t.: "Figures de Borrel. | Gravées pr. Elluin." Title-page: NOUVELLE TRADUCTION | DE | WOMAN OF PLEASUR, | OU | FILLE DE JOIE. | PAR M. CLELAND, | CONTENANT les Mémoires | de Mademoiselle FANNY, | écrits par elle – même. | AVEC FIGURES | — | PREMIERE (SECONDE) PARTIE. | — | ~ | A LONDRES; | Chez G. FENTON, dans le Strand; | — | M. DCC. LXXVI. || Collation: 18mo throughout A-O12/6, total 126 leaves plus 15 plates, incl. frontispiece. Pagination: separate for each part [1-5] 6-119 [120 blank], [1-3] 4-132, total 252 pages. Provenance: Tony Fekete (Christie’s 2014, № 54, p. 37; Price realized GBP 11,875): “[CLELAND, John (1709-1789).] Nouvelle traduction de Woman of Pleasur [sic] ou Fille de Joie. Contenant les Mémoires de Mademoiselle Fanny, écrits par elle-même. London [but Paris]: G. Fenton [Cazin], 1776. 2 volumes in one, duodecimo (128 x 80 mm). Printed on blue tinted paper. Frontispiece and 14 engraved plates on thick white paper by Elluin after Borel. (Short tear repaired in the margin of one plate, another plate with a faint dampstain touching the facing leaf of text.) Contemporary burgundy morocco, flat spine gilt in compartments, morocco label gilt, covers with a gilt triple fillet border, gilt edges, blue endpapers. THE MOST BEAUTIFUL 18TH-CENTURY ILLUSTRATED EDITION OF THIS CELEBRATED EROTIC NOVEL. An excellent copy bound in contemporary morocco. It is the second translation into French, but the first to include the exquisite plates by Elluin after Borel. These are some of the best illustrations by this remarkable partnership responsible for a number of important 18th-century libertine texts. Cohen-DeRicci 242-3; Dutel A-407 ; Gay-Lemonnyer II, 304; Pia Enfer, 915.” Catalogue raisonné: Dutel (I) A-407, p. 134; Cohen-DeRicci 242-3; Fekete (Christie's) 54, p. 37. Contributors: John Cleland (British, c. 1709 – 1789). François-Rolland Elluin (French, 1745 – c. 1822) Antoine Borel (French, 1743 – 1810) Hubert-Martin Cazin (French, 1724 – 1795) András Wahorn (Hungarian, b. 1953) Fekete, Tony Laszlo (Hungarian, b. 1972) -
Hardcover volume, 12mo, 125 x 85 mm, two parts in one, bound and gilded by Cuzin and Maillard, respectively, between 1876 and 1881, in crimson crushed morocco with raised bands and gilt lettering to spine, marbled endpapers, all edges gilt, gilt dentelle, signed 'Cuzin' to foot of front turn-in and 'Maillard dor.' to rear. Adorned with engraved frontispiece and 12 plates by Elluin after Borel. Text printed on a slightly bluish paper. Title-page: LE | MEURSIUS FRANÇOIS, | OU | ENTRETIENS GALANS | D'ALOYSIA. | ORNÉ | DE FIGURES. | — | TOME PREMIER (SECOND) | — | ✵ | A CYTHERE | — | M. DCC. LXXXII. || Collation: 12mo, π4 (2 blanks) A-Z6 χ1,+ π2 A-S6 (4 blanks) χ1, total 254 leaves; pagination: [8] [1] 2-277 [278 blank], [4] [1] 2-210 [8 blanks], total 508 pages, plus 13 engraved plates, incl. frontispiece. Catalogue raisonné: Cohen-de Ricci 240; Eros invaincu 17; Fekete 51; Nordmann (I) 91. Contributors: Nicolas Chorier (French, 1612 – 1692) – author. Antoine Borel (French, 1743 – 1810) – artist. François-Rolland Elluin (French, 1745 – c. 1822) – engraver. Hubert-Martin Cazin (French, 1724 – 1795) – publisher. Francisque Cuzin (French, 1836 – 1890) – bookbinder. Seller’s description: Erotica.- [Chorier (Nicolas)]Le Meursius François, ou Entretiens galans d'Aloysia, 2 parts in 1, half-title to each part, engraved frontispiece and 12 plates [by Elluin after Borel], handsomely bound in crimson crushed morocco by Cuzin, spine with gilt lettering and five raised bands, gilt tooled turn-ins by Maillard, signed 'Cuzin' to foot of front turn-in and 'Maillard dor.' to rear, marbled endpapers, g.e., fractional rubbing to extremities, an excellent copy, 12mo, Cythere [but Paris], [Cazin], 1782. -
Hardcover volume, 311 x 235 mm, bound in blue cloth, gilt lettering to spine, olive endpapers, pictorial dust jacket with text to flaps, pp.: [i-xi] xii-xvi, [1] 2-245 [246 blank], plus 19 leaves of plates and 4 leaves of captions, extraneous to collation (169 leaves total). Title-page: MARBLED | PAPER | ITS HISTORY, TECHNIQUES, | AND PATTERNS | With Special Reference to the Relationship of | Marbling to Bookbinding in Europe and | the Western World | RICHARD J. WOLFE {publisher’s device} | UNIVERSITY OF PENNSYLVANIA PRESS | Philadelphia || Imprint: Copyright © 1990 by the University of Pennsylvania Press | All rights reserved | Printed in Japan | Second printing 1991 || Frontispiece: A Publication of the | A. S. W. ROSENBACH FELLOWSHIP | IN BIBLIOGRAPHY || Wolfe, Richard J. (American, 1928 – 2017) -
Hardcover volume, 31 x 23.5 cm, peach cloth, with peach lettering to the green label on front board, green lettering to spine, pictorial dust jacket, price unclipped ($4.95); text to flaps; pp.: [1-6] 7-154 [155 plate] [5 blanks], ils. (photomechanical reproductions); magazine clipping laid in. Title-page: Drawing | THE HEAD AND HANDS | BY | ANDREW LOOMIS | {vignette} | NEW YORK • THE VIKING PRESS || Imprint: COPYRIGHT © 1956 BY ANDREW LOOMIS | FIRST PUBLISHED BY THE VIKING PRESS IN JANUARY 1956 | PUBLISHED ON THE SAME DAY IN THE DOMINION OF CANADA | BY THE MACMILLAN COMPANY OF CANADA LIMITED | SECOND PRINTING 1958 | {two paragraphs of copyright statement} | LITHOGRAPHED IN U.S.A, BY W. S. KONECKY ASSOCIATES || Edition: 1st edition, 2nd printing. Andrew Loomis (American, 1892 – 1959) -
Cardboard box 32 x 23.7 cm with lettering and vignette to front, lettering to spine, and Loomis facsimile and Titan publisher's barcode label to back.- Title-page: Drawing | THE HEAD AND HANDS | BY | ANDREW LOOMIS | {vignette} ||
- Title-page: FIGURE DRAWING | FOR ALL IT'S WORTH | ANDREW LOOMIS ||
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Iron pliers painted black and outlined in gilt lacquer, with wooden handle and bronze seals, "Ex Libris Comte Tony de Vibraye", L17.1 x W6.9 x H7.5 cm. Provenance: Antoine Henri Gaston Hurault de Vibraye [Comte Tony de Vibraye] (French, 1893 – 1951). The book with such a stamp in this library: [LIB-3243.2023] Crébillon fils. La Nuit et le moment ou Les Matinées de Cythère / Illustrations de Sylvain Sauvage. — Paris: Au dépens d’un amateur, 1924. -
Hardcover volume, 20.2 x 14.5 cm, aubergine cloth, gilt lettering and publisher’s device to spine, aubergine top edge, aubergine dust jacket with gilt lettering and black fleuron to front, gilt lettering and black fleuron and publisher’s device to spine, and a captioned photographic portrait to back, blurb text to flaps, price ”35s net | in U.K. only” unclipped; pictorial endpapers. Pp.: [1-8] 9-445 [446] [2], collation: A-O16, total 224 leaves. Title-page (in oval frame): JOHN FOWLES | THE | FRENCH | LIEUTENANT'S | WOMAN | — | Every emancipation is a restoration of the human | world and of human relationships to man himself. | MARX, Zur Judenfrage (1844) | JONATHAN CAPE | THIRTY BEDFORD SQUARE | LONDON || Contributors: John Fowles (British, 1926 – 2005) – author. Herbert Jonathan Cape (British, 1879 – 1960) – publisher. Ebenezer Baylis & Son, Ltd. (f. 1858) – printer. The Trinity Press – printer. -
Hardcover, 19 x 13.8 cm, crimson buckram with tan paper label with lettering to spine; printed on laid paper; pp.: ffl [i-vi] vii-x] 11-184, collation 8vo, 1-118 124, total 92 leaves. Title-page: AMERICAN ENGRAVERS | AND | THEIR WORKS | BY | W. S. BAKER | Collige et inscribe | PHILADELPHIA | GEBBIE & BARRIE PUBLISHERS | 1875 || Motto: Collige et inscribe [Collect and record, lat.] Contributors: William Spohn Baker (American, 1824 – 1897) – author. George Gebbie (American, 1832 – 1892) – publisher. George Barrie (American, 1843 – 1918) – publisher. George R. Bonfield (British-American, 1802 – 1898) – dedicatee. -
The Colophon, A Book Collectors' Quarterly
- The colophon (new series): A quarterly for bookmen / Summer 1935, № 1, vol. 1. — NY: Pynson Printers, 1935. Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 7-159 [160] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | SUMMER 1935 | VOLUME I • NEW SERIES • NUMBER 1 | NEW YORK, N. Y. ||
- The colophon (new series): A quarterly for bookmen / Autumn 1935, № 2, vol. 1. — NY: Pynson Printers, 1935. (2 copies). Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 167-315 [315] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1935 | VOLUME I • NEW SERIES • NUMBER 2 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1936, № 1, vol. 2. — NY: Pynson Printers, 1936. Hardcover, 24 x 16 cm, cloth serial design; pp: [4 blanks] [6] 7-157 [158] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1936 | VOLUME II • NEW SERIES • NUMBER 1 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Winter 1936, № 3, vol. 1. — NY: Pynson Printers, 1936. (2 copies) Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 323-480 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | WINTER 1936 | VOLUME I • NEW SERIES • NUMBER 3 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1937, № 4, vol. 2. — NY: Pynson Printers, 1937. Hardcover, 24 x 16 cm, cloth serial design; pp: [4 blanks] [6] 487-628 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1937 | VOLUME II • NEW SERIES • NUMBER 4 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Summer 1938, № 3, vol. 3. — NY: Pynson Printers, 1938. Hardcover, 24 x 16 cm, cloth new serial design; pp: [4 blanks] [6] 335-476 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | SUMMER 1938 | VOLUME III • NEW SERIES • NUMBER 3 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1938, № 4, vol. 3. — NY: Pynson Printers, 1938. Hardcover, 24 x 16 cm, cloth new serial design; pp: [4 blanks] [6] 483-632 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1938 | VOLUME III • NEW SERIES • NUMBER 4 | NEW YORK ||
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Hardcover, 23 x 17 x 4.7 cm, burgundy buckram, bevelled boards, blind geometrical design with a gilt medallion at the centre, gilt lettering and blind design elements to spine, text in frame, all edges red; pp.: [i-v] vi-xvi, [1] 2-494, [2 advert.], [1] 2-32 advert.], collation 4to: a-b4, B-3R4, a16. Title-page (red and black, in red frame): A HISTORY | OF | CARICATURE & GROTESQUE | {gothic letters} In Literature and Art. | By THOMAS WRIGHT, Esq., M.A., F.S.A., | Hon. M.R.S.L., &c.; | Corresponding Member of the Imperial Institute of France | (Académie des Inscriptions et Belles Lettres). |{double rules} | WITH | ILLUSTRATIONS FROM VARIOUS SOURCES, | DRAWN AND ENGRAVED BY | F. W. FAIRHOLT, Esq., F.S.A. | {double rules} | {gothic letters} London : | VIRTUE BROTHERS & CO., 1, AMEN CORNER, | PATERNOSTER ROW. | 1865. Contributors : Thomas Wright (British, 1792 – 1849) – author. Frederick William Fairholt (British, 1814 – 1866) – artist/engraver. Virtue Brothers & Co. (London) – publisher/printer. -
Thirteen unnumbered loose leaves 323 x 249 mm, watermarked BFK Rives, with manuscript text and vignettes produced by etching or, more likely, drypoint (see microphoto), incl. title-page, one full-page illustration and two leaves of text only; versos blank. Some leaves have registration marks. The set is housed in a cream French flapped folder (chemise) without lettering; the seller’s description is pasted to the front cover verso, glassine dust cover. Seller’s description: Cette édition in-folio du recueil de poèmes de Louis de Gonzague Frick, inconnue de Jean-Pierre Dutel, qui « a été tirée à 50 exemplaires (...) est certainement la plus rare (et a été) publiée après 1940 sur vélin (BFK) Rives » (cf. Ader, 3 mars 2020, n°155). Exemplaire « de passe », sans justificatif, complet des 13 planches avec 11 eaux-fortes, dont une à pleine page, d'Auguste Brouet. Ref.: According to honesterotica, the first edition was published in 1938 in 65 copies: "The pink Ingres paper and the loose-leaf format tied with a red ribbon". Another source states: "Le tirage a été effectué avec marges, sur papier vélin BFK Rives au format in-4 (32,5 × 25), les planches mesurant 26,5 × 22 cm. Certains exemplaires sont sur papier blanc - Je remercie le libraire qui a pris la peine de me communiquer ces dernières informations. Pour moi, c'est bien l'édition à 65 qui est l'originale, les deux autres étant des retirages légèrement postérieurs, mais dans le détail desquels le principe de l’œuvre - un manuscrit destiné à quelques amis de l'auteur - a été quelque peu trahi." Contributors: Louis de Gonzague Frick (French, 1883 – 1958) Auguste Brouet (French, 1872 – 1941) -
Watercolour on thick wove paper, unsigned. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). Size: 305 x 212 mm. -
Watercolour on thick wove paper, unsigned. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). Size: 305 x 212 mm. -
Watercolour on laid paper watermarked “HOLLAND”, 255 x 324 mm, number “10” ms pencil in the upper left corner, remnants of hinges to verso; unsigned. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). -
Pencil, pen and ink wash on india paper, 170 x 228 mm, black ink stamp to verso: “Nachlaß O R SCHATS”. Unsigned, attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). -
Watercolour on laid paper, 198 x 225 mm, signed or stamped in orange ink “ORS” to recto [Otto Rudolf Schatz (Austrian, 1900 – 1961)]; black ink stamp: “Nachlaß O R SCHATS”, pencil “ss” in the bottom left corner, and remnants of a hinge on the upper right to verso. -
Drawing on both sides; Pen and wash, india ink, gouache, on cardboard, 225 x 140 mm, black ink stamp to verso: “Nachlaß O R SCHATS”, remnants of hinges. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961).
