//European prints and drawings
  •

    [Achille Deveria]. La bibliothèque des romans: Une veillée de jeune fille, 1840 [i.e. c. 1842].

    Description: Pictorial album 29.7 x 24 cm, bound in ¾ red morocco over marbled boards with gilt lettering “LA BIBLIOTHÈQUE DES ROMANS” and raised bands to spine; marbled endpapers, two flyleaves, tan original wrapper lettered “La Bibliothèque des Romans. (gothic, arch) | {colour vignette} | UNE VEILLÉE DE JEUNE FILLE. | 1840. || Six hand-coloured lithographs, each in a double-rule border with the series title above it and image title below. Sequential numbers are hand-inscribed within the border in the upper-right corner. Frame 23.5 x 18.3 cm, image 21.5 x 16.5 cm. Three flyleaves at the end. A bookplate to front pastedown: “GERARD NORDMANN EX-LIBRIS”. Content:
    1. Front wrapper (title-page)
    2. SŒUR ANNE (Sister Anne)
    3. LA GRISETTE (The grisette)
    4. LÉONIDE OU LA VIEILLE DE SURÊNE (Léonide or the old lady of Surêne)
    5. LA PUCELLE DE BELLEVILLE (The maid of Belleville)
    6. MON VOISIN RAYMOND (My neighbor Raymond)
    7. LE COCU (The cuckold)
    Catalogue raisonné: Nordmann/Christie’s (I) № 127, p. 86 (Lithographic title and 6 erotic plates, in the Romantic style of Achille Devéria. Original pictorial front wrapper preserved) Provenance: Gérard Nordmann (French, 1930 – 1992). Achille Jacques-Jean-Marie Devéria (French, 1800 – 1857).
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  • Général de division / Image d’Épinal, c. 1870.

    Hand-coloured woodcut on wove paper, 430 x 285 mm; black ink stamp “5051” to reverse. Top right: "GÉNÉRAL | de division." — "359." Bottom: "Imagerie de DIDION, à Metz. Déposé." Paulin Didion (French, 1831 – 1879) – publisher/printer.
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  • Martin van Maële. Set of 21 two-colour etchings for the Charles Carrington edition of ‘Thais’ by Anatole France, 1901.

    Set of 21 etchings by Martin van Maele for the English edition of ‘Thais’ by Anatole France published in London by Charles Carrington in 1901. Printed on vowe paper without a watermark in two colours with the black image and sepia historiated border. All etchings are inscribed with the artist's monogram; one of the etchings bears inscriptions ORGUEIL, LUXURE, DOUTE (mirror image). Dimensions: sheet: 317 x 250 mm; plate: 170 x 115 mm; image: 155 x 100 mm. Catalogue raisonné: S. A. Perry: № 64. Per Perry, the edition was printed in 500 copies on 'handmade paper watermarked 'Van Gelder'. Contributor: Martin van Maële [Martin, Maurice François Alfred] (French, 1863 – 1926)
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  • Thomas Hugo. The Bewick Collector. A Descriptive Catalogue & A Supplement to a Descriptive Catalogue of the Works of Thomas and John Bewick. Lovell Reeve and Co., 1866-1868.

    A two-volume set: (1) Thomas Hugo. The Bewick Collector. A Descriptive Catalogue of the Works of Thomas and John Bewick; Including cuts, in various states, for Books and Pamphlets, Private Gentlemen, Public Companies, Exhibitions, Races, Newspapers, Shop Cards, Invoice Heads, Bar Bills, Coal Certificates, Broadsides, and other miscellaneous purposes, and Wood Blocks. With an Appendix of Portraits, Autographs, Works of Pupils, etc., etc. The whole described from the Originals contained in the largest and most perfect collection ever formed, and illustrated with a hundred and twelve cuts. — London: Lovell Reeve and Co., MDCCCLXVI [1866]. — [Printed by] J. E. Taylor and Co., printers. — pp.: [i-v] vi-xxiii [xxiv], [1] 2-562. (2) Thomas Hugo. The Bewick Collector. A Supplement to a Descriptive Catalogue of the Works of Thomas and John Bewick; Consisting of additions to the various divisions of cuts, wood blocks. etc., enumerated in that work. The whole described from the Originals contained in the largest and most perfect collection ever formed, and illustrated with a hundred and eighty cuts. — London: L. Reeve and Co, MDCCCLXVIII [1868]. — [Printed by] J. E. Taylor and Co., printers. — pp.: [i-vii] viii-xxxii, [1] 2-353. Both volumes in 8vo, 22.5 x 14.5 cm, hardcover. Contemporary dark brown half morocco, gilt-ruled, with 5 raised bands, gilt titles and decoration to spine, and marbled paper over boards. Top edge gilt; marbled endpapers. Binding splitting at pp.80/81 of the 1st volume. Armorial bookplate of Ralph Hart Tweddle to front pastedown. Ralph Hart Tweddle (1843 – 1895) was a British mechanical engineer, known particularly for inventing the portable hydraulic riveter, which greatly facilitated the construction of boilers, bridges and ships.  
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  • [RASPE, Rudolf Erich]. The Travels and Surprising Adventures of Baron Munchausen. / Illustrated with 37 curious engravings, from the Baron's own designs, and five woodcuts, by G. Cruikshank. — London: William Tegg, 1869. — xii + [10] + 268 pp.

    [Rudolf Erich Raspe]. The travels and surprising adventures of baron Munchausen / George Cruikshank (illustrator). — London: William Tegg, 1869.

    Half-title: BARON MUNCHAUSEN Title: THE TRAVELS | AND | SURPRISING ADVENTURES | OF | BARON MUNCHAUSEN. | ILLUSTRATED WITH | THIRTY-SEVEN CURIOUS ENGRAVINGS, | FROM | THE BARON'S OWN DESIGNS, | AND FIVE WOODCUTS, | BY G. CRUIKSHANK. | [device] | LONDON : WILLIAM TEGG. | 1869.|| [RASPE, Rudolf Erich]. The Travels and Surprising Adventures of Baron Munchausen. / Illustrated with 37 curious engravings, from the Baron's own designs, and five woodcuts, by G. Cruikshank. — London: William Tegg, 1869. Pagination: xii + [10] + 268 pp, 23 plates: hand-coloured engraved frontispiece, 5 woodcuts by Cruikshank, other b/w etchings, two folding plates. Binding: 19 x 13 cm; hardbound, 8vo, early 20th century 3/4 dark plum morocco gilt-ruled, raised bands, title label, gilt lettering, gilt in compartments, top edge gilt. Catalogue raisonné: A. Cohn: #584, p. 172. This edition is an identical re-issue of the 1867 edition.
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  • Arthur M. Hind. A history of engraving & etching from the 15th century to the year 1914. — Boston: Houghton Mifflin Co., 1923.

    Title: A HISTORY OF | ENGRAVING & ETCHING | FROM THE 15TH CENTURY TO THE YEAR 1914 | BEING THE THIRD AND FULLY REVISED EDITION OF | “A SHORT HISTORY OF ENGRAVING AND ETCHING” | BY | ARTHUR M. HIND | OF THE BRITISH MUSEUM | SLADE PROFESSOR OF FINE ART IN THE UNIVERSITY OF OXFORD | WITH FRONTISPIECE IN PHOTOGRAVURE | AND 110 ILLUSTRATIONS IN THE TEXT | {publisher’s device} | BOSTON AND NEW YORK | HOUGHTON MIFFLIN COMPANY | 1923 || Pagination: [i-iv] v-xiii. [2] – blank / abbrev., [2] 3-487 [488], frontis. w/tissue guard, ills.; Appendices: I. Classified list of engravers (p. 343-392); II. General bibliography (p. 393-419); III. Index of engravers and individual bibliography (p. 420-487). Collation: π10 B-2H8 2I4, frontispiece (extr.), 110 in-text illustrations. Binding: 25.8 x 20 cm, crimson cloth, blind triple-fillet to top and bottom of the front board, same in gilt to spine, gilt lettering to spine, top edge gilt, fore-edge untrimmed. Contributors: Arthur Mayger Hind (British, 1880 – 1957) – author. Houghton Mifflin Company (Boston, 1864) – publisher. R & R. Clark, Ltd. (Edinburgh, 1846) – printer. Note: It is marked as the 3rd edition of A short history of engraving and etching. Indeed, A short history of engraving & etching for the use of collectors and students with full bibliography, classified list and index of engravers was published by Constable in London and Houghton Mifflin Co. in Boston, in 1908 and then in 1911. However, it is hard to consider an almost completely new book "a 3rd edition".
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  • Valenciennes: Valencena, quondam cygnorum vallis, urbs han: perelegãs et valde magnifica; engraving, 1612.

    VALENCENA, QUONDAM | CYGNORUM VALLIS | URBS HAN: PERELEGÃS | ET VALDE MAGNIFICA. ||

    Engraved and hand-coloured map of Valenciennes first produced for Braun & Hogenberg's 6-volume Civitates orbis terrarum edition in 1570.

    English translation of the text printed on verso: "The Loire, an exceedingly well-known river in France, flows directly past the city and is very beneficial for trade. The fields surrounding the city are very fertile, and for this reason, the city is also called the granary throughout France, just as in earlier times Sicily was the granary of Rome. A famous wine also grows in this soil, which is exported from here not only throughout France but to all the countries in Europe. [...] The French spoken here is pure and uncorrupted, which is also the reason why so many foreigners settle here. For some are here for trade, others for study and others again to acquire the language, but also many without doubt for both these last two reasons, [...] and Germans, in particular, send their children here." [by Barry Lawrence Ruderman Antique Maps Inc.]

    Dimensions: Sheet: 39.8 x 53.5 cm; Image: 35.2 x 38.5 cm.

    Probably published in Cologne is 1612-18 by Petrum à Brachel: [Coloniae Agrippinae: apud Petrum à Brachel, sumptibus auctorum, 1612-1618]. Ref: LOC.
    Contributors:

    Georg Braun [Brunus; Bruin] (German, 1541 – 1622).

    Frans Hogenberg (Flemish-German, 1535 – 1590).

    Abraham Ortelius [Ortels; Orthellius; Wortels] (Dutch, 1527 – 1598).
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  • Peter Fendi. Vierzig Erotische Aquarelle in Faksimilereproduktion. — [Vienna: C. W. Stern , 1910].

    Six in-folio leaves, 2o, incl. title-page, engraved portrait of P. Fendi after Josef Danhauser, 4 pages of printed text, and 10 of 40 colour photomechanical reproductions of Fendi’s watercolour plates (205 x 140 mm), mounted on vellum paper with blind stamp (398 x 305 mm) in a parchment-backed flapped album (defective), gilt-stamped, with straps. Limited edition of 600 copies. The publisher is not stated but is sometimes attributed to C. W. Stern in Vienna. Limitation statement and imprint missing. Title-page (brown and black): PETER FENDI | VIERZIG EROTISCHE AQUARELLE | IN FAKSIMILEREPRODUKTION. MIT EINEM PORTRÄT | PETER FENDIS VON JOSEF DANHAUSER | UND EINER EINFÜHRUNG | VON KARL MERKER || Catalogue Raisonné: Nordmann II № 198, p.96. Contributors: Peter Fendi (Austrian, 1796 – 1842) Josef Danhauser (Austian, 1805 – 1845) Karl Merker – author/introduction.
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  • Napoléon III / Lithography, 1852.

    Hand-coloured lithography on wove paper, 380 x 298 mm; black ink stamp “4912” to reverse. On stone left: "A, Paris Miné Éditeur, imp.;" right: "Lith. R. St. Jacques. 41." Bottom center: "Napoléon III"; below: "EMPEREUR DES FRANÇAIS", under: "Élu les 21 el 22 novembre par 8,000,000 de voix et proclamé Empereur le 2 Xbre 1852." Printer/publisher: Miné, éditeur, imprimeur en lithographie, Rue Saint-Jacques, 41. Napoleon III [Charles-Louis Napoléon Bonaparte] (French, 1808 – 1873)
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  • Versailles soldiers firing upon the communists from roofs and windows in Paris. Harper's Weekly: July 1, 1871

    Versailles soldiers firing upon the communists from roofs and windows in Paris. Harper’s Weekly: July 1, 1871

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  • Engraved portrait of Erasmus of Rotterdam in an octagonal frame, 1757.

    The portrait of Erasmus of Rotterdam (1466 – 1536), half-length, head to the right, body facing right, looking away, in a trompe-l'oeil octagonal frame. Inscriptions: Top right: Tom IV, pag. 686. Center of the image: DIDIER ERASME / Ne a Rotterdam en 1467, mort a Basle en 1536. Bottom of the plate: Holbein pinxit | Flipart Sculp. From the book Histoire générale des Provinces-Unies by Bénigne Dujardin (French, 1689 – 1771?) and Gottfried Sellius (real name Gottfried Sell) (1704? – 1767), published in 1757 in Paris by P. G. Simon. Volume 4, facing p. 686. Size: Sheet: 25 x 17.5 cm; Plate: 19.5 x 13.5 cm; Image: 18 x 12 cm. References: (1) Van Someren v.2, p.249, №1688; (2) https://archive.org/details/histoiregnra04duja/page/n714/mode/2up. Inscription above the plate: nut ink, hand, "231".
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  • [Voltaire]. La Pucelle d’Orléans, Poëme héroï-comique en dix-huit chants. — Genève: [Cazin], 1788.

    LA PUCELLE | D'ORLÉANS, | POËME HÉROÏ-COMIQUE, | EN DIX-HUIT CHANTS. |{vignette}| A GENEVE. | M. DCC.LXXXVIII.|| Pagination: engraved frontis., engraved portrait, [1, 2] – t.p. / blank, [3] 4-304; plates: engraved frontispiece, engraved portrait of Jeanne d'Arc and 18 engraved plates (the so-called 'suite anglaise' by Marillier, Clément-Pierre (French, 1740 – 1808) after Duflos, Pierre (French, 1742 – 1816). Publisher: Cazin, Hubert-Martin (French, 1724 – 1795). Modern binding to imitate full mottled calf of the 18th century, gilt double-ruled boards, gilt decorated spine with the crimson label “LA PUCELLE”, AEG, laid paper. Size: 13.3 x 8.7 cm; 18mo. Catalogue raisonné: Cohen, De Ricci 1032 (for 1777 and 1780 editions). J. Lewine p.559 (for 1777 16mo and even 12mo editions). The 'correct' 1st thus edition is called suite anglaise because instead of 'chant number' it's printed 'book number' on top of the pages. This copy is definitely a later pirated edition.
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  • Félicien Rops. La Modernité; drypoint, 1883.

    Drypoint on wove paper, depicting a woman in a hat with a ribbon lettered "ACADEMIE", carrying in her hand a male head in spectacles on a plate. Monogrammed "FR 83", inscribed: LA MODERNITÉ. — Imp. Eudes.; in pencil on verso."L'ARTISTE" – OCT. 1886 | (PRUD'HOMME ONTHOOFD) E 332-V". Owner's stamp 'LvM' on verso.

    Dimensions: Paper: 27.2 x 17.8 cm; Plate: 19.7 x 14 cm; Image: 18.5 x 13 cm.

    Catalogue raisonné: Rouir 767:5; Arthur Hubschmid (1977): 405; Graphics irreverent and erotic (1968): 72.

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  • Eastern and western divisions of Paris, containing the quartiers. — London: Baldwin & Cradock, 1834.

    Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left:  WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] Published by Baldwin & Cradock, 47 Paternoster Row, A April 1st, 1834. [...] Engraved by J. Shury || Dimensions: Sheet: 40.8 x 57 cm; Image: 38.7 x 52.5 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Baldwin & Cradock (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
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  • Emilie Mediz-Pelikan. Roman Pines Grove / Chromolithography, c. 1905.

    Colour (tone) lithography, image 396 x 508 mm, sheet 532 x 654 mm; before signature, undated; pencil ms inscription: Föhrenhain — E. Pelikan / 200M to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus".
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  • Napoléon III, Empereur des français / Chromolithography, 1852

    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)  
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  • Adelbert von Chamisso. Peter Schlemihl / Sir John Bowring (translator), George Cruikshank (illustrator) — London: G. and W. B. Whittaker, 1824.

    Title: PETER SCHLEMIHL: | FROM THE GERMAN | OF LAMOTTE FOUQUÉ | WITH PLATES BY GEORGE CRUICKSHANK. | "There are more things in heaven and earth, Horatio, | "Than are dreamt of in your philosophy." | SHAKESPEARE. | — | LONDON: | G. AND W. B. WHITTAKER, | AVE MARIA LANE. | 1824.|| Pagination: xii, 165 p. : ill. No Adelbert von Chamisso (German, 1781 – 1838) name on the title page. George Cruikshank's name printed with a typo 'Cruickshank'. The attribution on the title-page to Friedrich de La Motte-Fouqué (German, 1777 – 1843) is erroneous. The original German was edited by La Motte Fouqué. The translation was performed by Sir John Bowring (British, 1792 – 1872) First edition in English, third issue with no hyphen between "Ave" and 'Maria" in publisher's imprint.

    In a cover box of red cloth over cardboard. Box: 21 x 13 x 2.3 cm; book: 19.3 x 11.8 x 1.7 cm; Crown 8vo. Red cardboard binding. Printed spine labels mounted on spine of the box and the book. Untrimmed edges.

    Reference: Cohn 475.
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  • Giovanni Battista Brustolon. Nocturnal view of the gondolas’ procession in front of the Basilica of San Pietro di Castello, 1763.

    From the series of prints 'Prospectum Ædium Viarumque Insigniorum Urbis Venetiarum'. Inscribed below image left: "Jo. Bap. Moretti et Filii del. e Pinx."; right: "Jo. Baptista Brustoloni sculp."; in lower margin centre: "Nocturna populi exultatio in pervigilio Sancti Petri Apostoli prope limina Patriarchalis Ecclesiæ, vulgò Sancti Petri de Castello. / Apud Ludovicum Furlanetto supra Pontem vulgo dictum dei Baretteri C.P.E.S.". The third state, published by Teodoro Viero; the numbering on plate lower right, next to the inscription in Latin is cancelled as indicated by bibliography.

    The subject is taken from a drawing by Giovanni Battista Moretti (Italian, active Venice, 1748-75) which in turn derives from a Canaletto painting. The print comes from the most important of Brustolon’s series, Prospectuum Aedium Viarumque Insignorum Urbis Venetiarum, dedicated to the Doge Marco Foscarini, from drawings by Canaletto, Moretti and sons and others, published for the first time by Ludovico Furlanetto in 1763 and later by Teodoro Viero. Giambattista Brustolon (1712–1796) was a famous Venetian engraver, a pupil of Joseph Wagner; whose talent is best displayed in his famous nocturnals: ‘riesce a dare il meglio di sé … nei famosi notturni’ (Succi).

    Plate: 324 × 458 mm Sheet: 350 × 471 cm

    References: The British Museum 1944,1014.209.48; The Metropolitan Museum of Art 60.611.29(4) (first state); Dario Succi, Da Carlevaris ai Tiepolo, 1983, pp.81-93, n. 55; William George Constable, J. G. Links, Canaletto: Giovanni Antonio Canal. 1697–1768. Oxford, 1989, vol. II, cat. no. 10, p. 674.

    Condition: a very slight central fold, slight foxing and a very slight stain to the top, four small pinholes in corners, not affecting the engraving; else a well-margined copy in good condition.

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  • Thomas Bewick. History of British birds with the supplements and addenda / Vol. 1 & 2. — Newcastle: T. Bewick and E. Charley; London: Longman & Co., 1821.

    Volume 1: Land birds – 7th edition; Supplement: 1st edition. Title: A | HISTORY | OF | BRITISH BIRDS. | THE FIGURES ENGRAVED ON WOOD BY T. BEWICK. | VOL. I. | CONTAINING THE | HISTORY AND DESCRIPTION OF LAND BIRDS | — | AND | A SUPPLEMENT, WITH ADDITIONAL FIGURES. | — | NEWCASTLE: | PRINTED BY EDWARD WALKER, PILGRIM STREET, | FOR T. BEWICK : SOLD BY HIM, AND E. CHARNLEY, NEWCASTLE ; | AND LONGMAN AND CO. LONDON. | 1821. || Pagination: [2 blanks], [i, ii] – t.p. / blank, [iii] iv-xl, [43] 44-330, [2] – suppl. t.p. / blank, [1] 2-46 [47] – contents, [48] – advert., [2 blanks]. Collation: 8vo in fours; π1 A-C4 E3 F-2S4 π1 B-G4; I2, N2, and 2A2 unsigned. Woodcuts: 157 descriptions of birds, 140 figures of birds, 127 vignettes, tail-pieces, figures in text, etc. Volume 2: Water birds – 5th edition; Supplement: 1st edition. Title: A | HISTORY | OF | BRITISH BIRDS. | THE FIGURES ENGRAVED ON WOOD BY T. BEWICK. | VOL. II. | CONTAINING THE | HISTORY AND DESCRIPTION OF WATER BIRDS | — | AND | A SUPPLEMENT, WITH ADDITIONAL FIGURES. | — | NEWCASTLE: | PRINTED BY EDWARD WALKER, PILGRIM STREET, | FOR T. BEWICK : SOLD BY HIM, AND E. CHARNLEY, NEWCASTLE ; | AND LONGMAN AND CO. LONDON. | 1821. || Pagination: [2 blanks], [i, ii] – t.p. / blank, [iii] iv-xxii, [19] 20-360, [2] – suppl. t.p. / blank, [1] 2-43 [44] – contents, [1] 2-7 – addenda., [8] – imprint, [2 blanks]. Collation: 8vo in fours; π1 A-B4 *B2 C-2X4 2Y3 π1 B-F4 G2 [H]4; E2, F2, G2, 2G2, 2T2 and Suppl. G2 and Addenda unsigned. Woodcuts: 162 descriptions of birds, 125 figures of birds, 137 vignettes, tail-pieces, figures in text, etc. Both volumes: Size: 21.3 x 14 cm; page: 20.7 x 13.1 cm, demy. Binding: Green half-calf over marbled boards, blind-ruled raised bands with gilt ornament, crimson gilt-ruled and lettered labels to spine. For the first edition see: LIB-2614.2021 Catalogue raisonné: Hugo (1866): № (99) 94 –120 (108) / pp. 40-58; Roscoe (1953): № 24 a-c, 25 a-c, 26 a-c, 27 a-c, 28 / pp. 104 - 114.
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  • Losing my seat. [Anonyme] A. Sharpshooter, 1829.

    Hand-coloured etching by an anonymous British artist, printed on May 26, 1829, in London. Description by British Museum (1868,0808.8988): "O'Connell, in wig and gown, walks to the left from the massive door of a small stone building, stooping, and holding his handkerchief to his right eye. He wails: 'O, my poor Seat! my poor Seat! my poor Seat! I'd have given any thing for a seat.' In the doorway (right) stands Peel, saying with wary blandness: 'What good can weeping do you Dan.—I'm sure I did as much as I could!!' Above the large knocker on the plank door is 'Knock & Ring'. There is a projecting bell, above a placard: 'NB. Jews or Proselytes desirous of Obtaining Seats in the House may Knock and Ring at this Door.' One corner of "the House", a small stone shed, is depicted. O'Connell is walking towards a strip of water, across which is a mountain, with a board pointing 'To — Clare'. Comment by BM: "Catholic Emancipation raised high hopes among Jews; the first Bill, after a petition from Jews in Liverpool, was introduced 15 Apr. 1830, but Jewish Emancipation did not become law till 1858." Inscription under the frame with title, "A. Sharpshooter fec", text within image and publication line: "Pub. by G. Humphrey, 24 St. James's Street May 26 1829". Size: 37.5 x 26 cm.
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  • [Feodor Rojankovsky, dit Rojan]. Quatorze études originales pour Vers Libres de Raymond Radiguet, c. 1935.

    Portfolio of 14 original watercolour illustrations for Vers Libres by Raymond Radiguet. Painted on wove paper of different sizes, each mounted in a passe-partout 39,5 x 33 cm and enclosed in a flapped portfolio with a white label to front cover lettered "14 études originales | pour | VERS LIBRES | de | Raymond Radiguet | par | ROJAN". For published versions, see:
    1. [LIB-2830.2021] Raymond Radiguet. Vers libres / [Illustrés par Rojan]. — Champigny: Au Panier Fleuri [i.e. Paris, René Bonnel, c. 1935].
    2. [LIB-2827.2021] Raymond Radiguet. Vers libres / Illustrés par Rojan. — Nogent: Au Panier Fleuri [i.e. Paris, c. 1937].
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  • Amiral / Image d’Épinal, c. 1870.

    Hand-coloured woodcut on wove paper, 440 x 285 mm; black ink stamp “5049” to reverse. Top left: "AMIRAL"; right: "349". Below: "Imagerie de DIDION, à Metz, DELHALT Successeur." — "Déposé." Paulin Didion (French, 1831 – 1879) – publisher/printer.
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  • Marianne Clouzot. Set of 10 sanguine etchings from the album “Jeunesse”, published by La Tradition, 1945 (incomplete).

    Set of 10 etchings (9 in passe-partout) printed in sanguine on the mother of pearl paper (japon nacre) from the album of 12 prints titled “Jeunesse”, presented by Gérard D'Houville (pen name of Marie de Régnier, née de Heredia) and published by La Tradition in 1945. It was a limited edition of 532 copies, some coloured on Arches paper and some as these set. Plates signed by the artist in pencil below the plate mark. The album cover is missing. Title-page: JEUNESSE | 12 EAUX-FORTES ORIGINALES | DE | MARIANNE CLOUZOT | PRÉSENTÉES | PAR | GÉRARD D'HOUVILLE | {publisher’s device} | LA TRADITION | 1945 || Dimensions: mat 330 x 255 mm; window 225 x 180 mm; sheet 280 x 220 mm; plate 220 x 170 mm. Contributors: Marianne Clouzot (French, 1908 – 2007) – artist Marie de Régnier [Marie de Heredia, Gérard d'Houville] (French, 1875 – 1963) – editor
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  • Contes et nouvelles en vers de monsieur de La Fontaine. Amsterdam: Henry Desbordes, 1685.

    [Jean de LA FONTAINE]. Contes et nouvelles en vers. De Monsieur de La Fontaine. Nouvelle édition enrichie de tailles-douces. À Amsterdam | Chez Henry Desbordes, MDCLXXXV [1685]. — 2 vol. in 1. Pagination: [1] - frontispiece with pasted illustr., [*1] - title p. with blank verso, *2-*5 (only recto numbered) - advertisement, [1] - preface vol. 1, [2] table, 1-236; [6] - preface vol. 2, 1-216, illustr. (in text). Etched frontispiece plate and 58 half-page etchings at the head of each chapter as well as endpiece vignettes, all by R. de Hooge (Romeyn de Hooghe, 1645 – 1708, a Dutch painter, sculptor, engraver and caricaturist. First illustrated edition. "Publication of the scandalous fables was forbidden in France from 1674. According to Van Eeghen, this edition was published without the knowledge of La Fontaine. ...This is the edition with ‘Le Juge de Nêle’ (instead of Mesle) in the contents of the first volume, as well as page 211 for 'Dissertation sur la Joconde'; 16 lines of text on page 211; and 19 lines of text on the first page of the preface of volume 2" [1]. Pott 8vo (15.4 x 10 cm), hardcover; owner's later tan polished half-calf, marbled boards, marbled pastedowns and flyleaves, 5 raised bands, dark brown labels with gilt lettering and gilt roll patterns on spine, tail of the spine slightly damaged. Corners bumped, spotted stains on leather. Henri Desbordes (d. ca. 1722) was a Huguenot printer who was exiled from his business in France and set up as a publisher in Amsterdam in the 17th century.
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  • George Cruikshank. George Cruikshank's Fairy Library. Hop-O'-My Thumb. Jack and the Bean-Stalk. Cinderella. Puss in Boots. — London: George Bell and Sons, 1885. — pp.: [2] blank, [2] first half-title with blank verso, [i-ii] second half-title with blank verso, [2] frontispiece plate with blank recto, [iii-viii] title, colophone, editor's note, list of illustr. [2] title with blank verso, [1] 2-101 [3] blank, 24 plates with protective tissue, unpag. — Colophon: This edition is limited to 500 copies, with India paper impressions. The former editions have been from lithographic transfers. The plates were retouched under Mr. Cruikshank's direction shortly before his death, and have not been used since until now.

    George Cruikshank’s Fairy Library. — London: George Bell and Sons, 1885.

    Title: GEORGE CRUIKSHANK'S FAIRY LIBRARY. | HOP-O'-MY THUMB. | JACK AND THE BEAN-STALK. | CINDERELLA. | PUSS IN BOOTS. | [DEVICE] | LONDON: | GEORGE BELL AND SONS, YORK STREET, COVENT GARDEN. Pagination: [2] – blanks, [2] – first half-title with blank verso, [i-ii] – second half-title with blank verso, [2] – blank / frontispiece, [iii-viii] title, colophon, editor's note, list of illustrations, [2] –  title with blank verso, [1] 2-101 [3] – blank; 24 plates with protective tissue. Colophon: This edition is limited to 500 copies, with India paper impressions. The former editions have been from lithographic transfers. The plates were retouched under Mr. Cruikshank's direction shortly before his death, and have not been used since until now. Binding: 4to, 22.2 x 17.5 cm, hardcover; 3/4 black calf ruled in gilt, brown calf spine with raised bands decorated in gilt, with gilt title lettering. Green marbled boards and end-papers. Abel E. Berland's bookplate pasted to front pastedown. Professionally rebound, re-backed with the original spine laid down, corners bumped. Catalogue Raisonné: Not in Alan M. Cohen's. As writes the British Library: "George Cruikshank’s [...]  illustrations for the first English translation of Grimm’s Fairy Tales were praised widely, but his own rewriting of fairytales was criticised, most prominently by Charles Dickens. This was not due to the quality of the illustrations, but because, in line with his temperance beliefs, Cruikshank rewrote aspects of the fairytales to warn the reader against the evils of alcohol. Thus, for instance, the preparations for Cinderella’s marriage include the court throwing all alcohol in the palace on a bonfire; and in ‘Jack and the Beanstalk’, the giant is an alcoholic. Dickens, a friend of Cruikshank, was outraged at what he considered to be a betrayal of the essence of fairytales and, in protest, he published an essay in his weekly magazine Household Words entitled ‘Frauds on the Fairies’ in protest (1853)."
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  • Les Filles d’Eve – Album de Travestissements Plus ou Moins Historiques. — Paris: Le Journal Amusant et al., 1867.

    Pictorial album of 20 hand-coloured wood engravings by Firmin Gillot after Alfred Grévin; numbered 1 to 20, bound with tissue guards in half-brown cloth over marbled boards, publisher's gilt-lettered blue wrappers preserved, purple-blueish endpapers. Front wrapper (gilt on blue): LES FILLES D'EVE | ALBUM | DE TRAVESTISSEMENTS | PLUS OU MOINS | HISTORIQUES | Par A. GRÉVIN | — | PARIS | AUX BUREAUX : DU JOURNAL AMUSANT, DES MODES PARISIENNES | DE LA TOILETTE DE PARIS ET DU PETIT JOURNAL POUR RIRE | 20. Rue Bergère. || ; Henri Plon's imprint to back wrapper. Contributors: Grevin, Alfred (French, 1827 – 1892) Gillot, Firmin (French, 1820 – 1872) Plon, Henri (French, 1806 – 1872) Ref.: Metropoliten Museum.
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  • Nieuwe kaart der platte grond van de stad Parys en derzelver voorsteden; engraving, 1756.

    Title: NIEUWE KAART | der platte Grond van de Stad | PARYS | en derzelver Voorsteden. | Met aanwyzing van de Kwartieren, Staaten, | Markten, Pleinen, Paleizen, Abtyden, Kerken, | Kloosters en andere voornaame Gebouwen. | Na het Origineel van | M. DE LA GRIVE. | Te Amsterdam by | I. Tirion. | 1756. ||

    Author : Jean Delagrive (French, 1689-1757)

    Publisher: Isaak Tirion (Dutch, 1705 – 1765)

    Publication date: 1756.

    Dimensions: Sheet: 42.5 x 53.8 cm; Image: 30.7 x 37.7 cm.

    Plate № 59 from Beknopte Atlas van omtrent honderd platte gronden der voornaamste vestingen, kasteelen en Steden van Europa.
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  • Chevalier F. de Bouval [i.e. Franz von Bayros]. Sixteen erotic prints, c. 1925.

    A set of sixteen planographic prints, signed and titled in pencil by owner “Chevalier F. de Bouval” (pseudonym of Franz von Bayros (Austrian, 1866 – 1924). Titles include: 1) Ouverture, 2) champagne brut, 3) maternité, 4) piano, 5) crudité délicieuse, 6. la belle vue, 7) au pensionnat, 8) le collier, 9) languelles pénètrelles, 10) introduction, 11) le sourrogat, 12) variation amoureuse, 13) la surprise, 14) le clef délicat, 15) le monstre gomme, 16) fruits de sud. Printed on wove paper, possibly engraved on wood after ink drawings by Franz von Bayros (Austrian, 1866 – 1924) under the pseudonym Chevalier F. de Bouval. Size: sheet 30 x 24 cm, image 18 x 17.5 cm. In another source, there are two more images from the same set: le passe-partout and la doublette, making 18 images altogether; the set is titled “Lesbia: XVIII sujets”, signed by Chevalier François René de Bouval.
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  • Géneral de division / Lithography, c. 1852.

    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.
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  • The morgue at Paris - The last scene of a tragedy. Harper's Weekly: July 18, 1874

    The morgue at Paris – The last scene of a tragedy. Harper’s Weekly: July 18, 1874

    The morgue at Paris - The last scene of a tragedy. Harper's Weekly: July 18, 1874. Text - page 606.SVVP-0002-2. The morgue at Paris - The last scene of a tragedy.jpeg Image cited at: L'Ecume des lettres Français seconde, Programme 2019 by Julien Harang, page 44.
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  • Fables de La Fontaine by J.-J. Grandville, 1838.

    Fables de La Fontaine / édition illustrée par J. J. Grandville (in 2 volumes). – Paris: H. Fournier Ainé, Perronin, 1838. Imp. H. Fournier et Ce, 14 rue de Seine (Premier Tirage). Vol 1: [2 - ht, imprim.] [2 - blank with handwritten inscription, frontis.] [2 - t.p., blank], [ [i] ii-xxviii - épitre, préface, [2 - plate 'fables', [1] 2 - dedication, [3, 4 - pltate: livre 1, blank] [5, 6 - plate: blank, cigale] [7] 8 - fab.1 (the subsequent plates are not paginated) - 292. (245-246 - Avertissement), (247-248 - A mamdam de Montespan); Wood engravings: frontispiece + half-title Fables + 7 running half-titles Livres des Fables + 72 plates. Vol. 2: [2 - ht, imprim.] [2 - t.p., blank] [1, 2 - plate 'livre 8', blank] [3] 4-312 (191-192 épilogue), (195-196 Au duc de Bourgogne), (268 - fin des fables), (269-296 Philemon et Baucis | D. O. M. | La Martone Déphèse | Belphegor), (297 -308 notice), (309-312 table); Wood engravings: 5 running half-titles Livres des Fables + 1 half-title Philemon et Baucis  + 48 plates. Size: 8vo, 23.2 x 15 cm. Binding: Full tree-calf, flat spine stamped with gilt, red and brown labels with gilt lettering, marbled endpapers. Handwritten nut ink inscription to blank recto of frontispiece: the history of Millet-Fontaine family (provenance?) There were two print-runs in the year 1838. According to Léopold Carteret (Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927, pp. 357-9), the first run (Premier Tirage) published by H. Fournier and Perrotin, while the Second Tirage by H. Fournier Ainé. Though, the initial cap character "N" at p. xiii (vie d'Ésope) in this copy is formed by 'faite de lignes bouclées' as in the first print-run, rather than by 'petits carreaux noirs et blances' as in the second. We can conclude with confidence that this copy belongs to Premier Tirage. Wood engravings (135 plates, including frontispiece, and numerous headpieces and initial letters) were cut by the following artists (the first number is the number of the chapter ('livre'), the second – the number of the fable within the 'livre': Wood engravers: John Bastin, (British, fl. 1840 – 1850): 6-6, 7-13, and 8-9. Alexandre Belhatte (French, born in 1811): 3-11 and chapter title pages to 'livres' 6, 11, 12, headpices on p. 117 in vol. 2, and 'Philemon et Baucis' section title page. J. Constantine Beneworth (active France, 19th century): 1-6. Louis-Henri Brévière (French, 1797 – 1869): 1-10, 2-7, 6-10, 6-21, 7-4, 8-10, 8-27, 9-3, 10-4, 12-11, frontispice, together with François-Louis Français (French, 1814–1897), and 'Fin des fables' tailpiece. Brévière et Hébert: Louis-Henri Brévière (French, 1797 – 1869) and César-Auguste Hébert (French, active 19th century): 1-1, 1-2, 1-13, 1-18, 2-2, 2-11, 3-1, 3-3, 3-4, 3-18, 4-20, 4-21, 4-22, 5-5, 5-20, 6-2, 6-8, 7-3, 8-7, 8-12, 8-14, 8-17, 9-14, 10-6, 10-16, 11-6, 12-4, 12-25. Joseph-Hippolyte-Jules Caqué (French, 1814 – 1885): 7-11 and headpieces on p. 251 in vol. 1 and on p. 197 in vol. 2. Prosper-Adolphe-Léon Cherrier (French, born 1806): 8-6. Henry Isidore Chevauchet (French, fl. 1837 – 1850): 1-19, 2-4, and 4-5. Louis Dujardin (French, 1808 – 1859): 10-9. Pierre-François Godard (French, 1768 – 1838): 1-5, 1-16, 5-2, and 10-11. Charles David Laing (British, fl. 1836 – 1853): 7-9. Lacoste père et fils aîné et Auguste-Alexandre Guillaumot (French, 1815 – 1892): 1-4, 1-20, 9-17, and 11-5. Laisné (Alfred, Adèle, and Aglaé) (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10. (Alfred, Adèle, and Aglaé) Laisné (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10. Théodore Maurisset (French, fl. 1834 – 1859): 2-14 and 6-13. Antoine-Alphée Piaud (French, 1813 – 1867): 1-17, 2-9, 2-16, 4-1, 4-4, 5-15, 5-17, 5-18, 5-21, 8-22, 8-23, 8-25, 9-19, 10-13, 11-3, 11-9, 12-13, 12-15, 12-21, three 'livres': 3, 9, 10, and headpiece on p. 71 in vol. 2. Roux-Jourdain: Two 'livre' title pages, 1 and 2. John Orrin Smith (British, 1799 – 1843): 2-13, 2-18, 3-9, 3-14, 4-9, and 4-14.L. Chauchefoin (French): 2-3 and 5.13. Matthew Urlwin Sears (British, 1799 – 1870): 10-1 and 12-9. Monogram TM or MT (possibly for Théodore Maurisset): 6-16 and 10-3. Monogram GO–> (possibly for Godard) : 5-3, 7-1, and 9-5. Monogram B and BV: 4-11, 12-6, 'livre' 4, and headpieces on p. 1 in vol. 1 and on p. 167 in vol. 2. Unsigned or with an illegible signature: "fables' section title, 1-3, 1-9, 3-5, 3-8, 4-15, 4-18, 5-10, 7-7, 7-16, 9-2, 9-4, 12-2, 12-3, 12-17, and two 'livre' title pages, 5 and 8. Little is know about Matthew Urlwin Sears. He was a wood engraver of good reputation who is known to have worked in London in the early 1820s, Paris and Leipzig. Listed as "wood engraver" on records of the UK Printing Historical Society. Work The British Museum owns three of his earliest published works, engravings for Northcote's Fables (1828). He authored "Specimen of stereotype ornaments, 1825" which was reprinted as a facsimile in 1990 by the Printing Historical Society (London), with a foreword by James Mosley. He is mentioned by Pierre Gusman in "La Gravure sur Bois en France" (Paris, 1929). Laurent's Histoire de l'Empereur Napoleon, (1839) is one of many publications on which both Sears and his partner John Quartly worked, as well as numerous other engravers. His work appeared in "Aunt Effie's Rhymes" (1852) and "Uncle Tom's Cabin", by Harriet Beech Stowe (Edinburgh: Adam and Charles Black, 1853) [Claire-Juliette Beale, December 2009].
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  • Crébillon fils. Le sopha, conte moral / Nouvelle édition. — Pekin [i.e. Paris]: l’imprimeur de l’Empereur, 1749.

    Title-page in black and red: LE | SOPHA, | CONTE MORAL. | NOUVELLE EDITION. | PREMIERE PARTIE. | {vignette} | A PEKIN, | Chez l'imprimeur de l'Empereur, | 1749. || Pagination: Two volumes in one. [2] – blanks, [2] – blank / frontis., [i, ii] – t.p. / blank, [iii] iv-xxi [xxii] ; [1] 2-253, [254-256] – table / blank, [2] – blanks; [i, ii] f.t. (seconde partie). [iii] 4-237 [238-240] – table / blank, [2] – blanks ; ills. 1 frontispiece, 4 plates and 2 vignettes by Pelletier after Clavereau, 2 fleurons by Fessard after Cochin. Collation: 12mo; a12, A8B4–T8V4, X8 [*1]; A8B4–T8V4. Binding: Full mottled calf, flat spine, compartments double-ruled in gilt, gilt flowers and foliage in compartments, crimson title label; marbled endpapers. Printed on laid paper, watermarked. Size: 14.8 x 8.8 cm Catalogue raisonné: Cohen, de Ricci (266); J. Lewine (124-5).
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  • Félicien Rops. La vieille à l’aiguille; etching, 1876.

    Etching on wove paper, depicting an old woman trying to thread a needle. Signed in plate: "Felicien Rops, 76 Septembre". Owner's stamp LvM on verso.

    Dimensions: Paper: 51.9 x 35 cm; Plate: 27.5 x 21 cm; Image: 23.5 x 16 cm.

    Catalogue raisonné: Arthur Hubschmid (1977): 358; Graphics irreverent and erotic (1968): 54.

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  • Eastern and western divisions of Paris, containing the quartiers. — London: c. 1840.

    Top right: EASTERN DIVISION OF | PARIS. | Containing the Quartiers | {5 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Bottom left:  WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || The map is framed, but there is no lettering beneath the frame to identify the cartographer, engraver, and publisher. However, we can attribute it to William Barnard Clarke (British, 1806 – 1865) and John Shury (fl. c. 1814-1844). The publisher is either Baldwin & Cradock or Chapman and Hall. Dimensions: Sheet: 40 x 60.8 cm; Image: 40 x 53.5 cm.
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  • Napoléon III: Kaiser der Franzosen / Lithography, 1852.

    Hand-coloured lithography on wove paper 423 x 332 mm; On reverse: black ink stamp “4956”, ms “A”, ms pencil “428” and “Ernest”. Under the image, centre: "NAPOLEON III | Kaiser der Franzosen." Velow: | NAPOLEON III | Czaar of the French — NAPOLEON III | Czaar van Frankrijk — NAPOLÉON III | Empereur des Francais. — NAPOLEONE III | El emperador delos Franceses; bottom left: "Verlag u. Eigenthum | von. Fried. G. Schulz in Stuttgart.", right: "No 146." The artist's and printer's names in stone are not legible. Published in Stuttgart by Friederich Gustav Schulz (German, 1786 – 1859) during the time of the Second French Empire (1852-1870).
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  • Jules Pascin. Erotikon. — Bruxelles [i.e. Paris: Jean-Gabriel Daragnès], 1933.

    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.
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  • Le Pere Matthieu Ricci, Le Pere Adam Schaal, and Le Pere Ferdinand Verbiest by Joshua Van Solingen (1736).

    Three priests: Le Pere Matthieu Ricci, Le Pere Adam Schaal, and Le Pere Ferdinand Verbiest. Three priests with navigational instruments. Image taken from Description geographique, historique, chronologique et physique de l'Empire de la Chine et de la Tartarie Chinoise. Enrichies des cartes generales et particulieres de ces pays, etc. by Jean-Baptiste Du Halde (1674–1743), vol. 3, page 78. Originally published/produced in La Haye [The Hague], 1736. J.v.Solingen fecit

    Jean-Baptiste Du Halde (Chinese: 杜赫德; 1 February 1674 – 18 August 1743) was a French Jesuit historian specializing in China. He did not travel to China, but collected seventeen Jesuit missionaries' reports and provided an encyclopedic survey of the history, culture and society of China and "Chinese Tartary," that is, Manchuria. Voltaire said of Du Halde's work: "Although it is developed out of Paris, and he hath not known the Chinese, [he] gave on the basis of the memoirs of his colleagues, the widest and the best description the empire of China has had worldwide." Le Pere Matthieu Ricci, a.k.a. Matteo Ricci, S.J. (Italian pronunciation: [matˈtɛːo ˈrittʃi]; Latin: Mattheus Riccius Maceratensis; 6 October 1552 – 11 May 1610), was an Italian Jesuit priest and one of the founding figures of the Jesuit China missions. His 1602 map of the world in Chinese characters introduced the findings of European exploration to East Asia. He is considered a Servant of God by the Roman Catholic Church. Ricci arrived at the Portuguese settlement of Macau in 1582 where he began his missionary work in China. He became the first European to enter the Forbidden City of Beijing in 1601 when invited by the Wanli Emperor, who sought his services in matters such as court astronomy and calendrical science. He converted several prominent Chinese officials to Catholicism, such as Xu Guangqi, who aided in translating Euclid's Elements into Chinese as well as the Confucian classics into Latin for the first time. Le Pere Adam Schaal, a.k.a. Johann Adam Schall von Bell (1 May 1591 – 15 August 1666) was a German Jesuit and astronomer. He spent most of his life as a missionary in China (where he is remembered as "Tang Ruowang") and became an adviser to the Shunzhi Emperor of the Qing dynasty. Le Pere Ferdinand Verbiest, a.k.a. Father Ferdinand Verbiest (9 October 1623 – 28 January 1688) was a Flemish Jesuit missionary in China during the Qing dynasty. He was born in Pittem near Tielt in the County of Flanders (now part of Belgium). He is known as Nan Huairen (南懷仁) in Chinese. He was an accomplished mathematician and astronomer and proved to the court of the Kangxi Emperor that European astronomy was more accurate than Chinese astronomy. He then corrected the Chinese calendar and was later asked to rebuild and re-equip the Beijing Ancient Observatory, being given the role of Head of the Mathematical Board and Director of the Observatory. He became close friends with the Kangxi Emperor, who frequently requested his teaching, in geometry, philosophy and music. Verbiest worked as a diplomat and cartographer, and also as a translator because he spoke Latin, German, Dutch, Spanish, Hebrew, and Italian. He wrote more than thirty books. During the 1670s, Verbiest designed what some claim to be the first ever self-propelled vehicle – many claims this as the world's first automobile, in spite of its small size and the lack of evidence that it was actually built.

    Joshua Van Solingen was an engraver and publisher from Holland, working, besides other places, in Scotland. Information about him can be found at Catastrophic Bliss (The Griot Project Book Series) by Myronn Hardy;  Accounting in Scotland (RLE Accounting): A Historical Bibliography edited by Janet E. Pryce-Jones, Robert H. Parker; History of the Scottish Metrical Psalms: With an Account of the Paraphrases ... by John West MacMeeken;  The History of Edinburgh, from the Earliest Accounts to the Present Time ... by Hugh Arnot;  History of the Bassandyne Bible, the First Printed in Scotland: With Notices ... by William T. Dobson.

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  • [Taxile Delord]. Un autre monde par Grandville. — Paris: H. Fournier, 1844

    Description: One volume, collated 4t0, 27.3 x 20 cm, bound in contemporary quarter black chagrin, gilt ornaments and lettering to spine (reliure à l'époque romantique), marbled end-papers; printed on wove paper (vélin fort). Title-page (red): UN | AUTRE MONDE | TRANSFORMATIONS, VISIONS, INCARNATIONS | ASCENSIONS, LOCOMOTIONS, EXPLORATIONS, PÉRÉGRINATIONS | EXCURSIONS, STATIONS || COSMOGONIES, FANTASMAGORIES, RÈVERIES, FOLATRERIES | FACÉCIES, LUBIES || MÉTAMORPHOSES, ZOOMORPHOSES | LITHOMORPHOSES, MÉTEMPSYCHOSES, APOTHÉOSES | ET AUTRES CHOSES | PAR GRANDVILLE | [device] | PARIS | H. FOURNIER, LIBRAIRE-ÉDITEUR | RUE SAINT-BENOIT, 7 | M DCCC XLIV Pagination: ff, [2] half-title in red / imprim., [2] blank / frontis. in black, [2] title page in red / blank, [1] 2-295, [1] explication and erratum, bf, illustrations. Collation: 4to, (1)-(37)4 with frontispiece, 133 woodcut vignettes, 15 full-page black woodcuts, and 36 hand-coloured plates. Catalogue raisonné: Carteret (p. 285) describes the book as 'in-8', but the collation is actually in quarto (in-4, or 4to) with series signed in Arabic numerals. Ray (French): p. 275-7. The publication is anonymous, however, Grandville reveals the author's name (that's Taxile Delord) on the vignette on p. 292 at the bottom of the plate (under ICI).  
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  • [Feodor Rojankovsky]. Idylle printanière. — [Paris: Henri Pasquinelli, 1938].

    Title: IDYLLE | PRINTANIÈRE || Verso: {Headpiece} | Justification du tirage | {7 lines of text} | Exemplaire № 56 (digits by hand) | HP (monogram by hand) | {tailpiece} || Album of 30 hand-coloured lithographs and frontispiece in a cardboard folder; each sheet mounted in a 32.5 x 25 cm passepartout with 19 x 13 cm window; published in Paris in 1938 by Henri Pasquinelli (attributed). No artist, no publisher name indicated. According to Justification du tirage, the print run of 516 copies on Arches laid tinted paper (vergé), copy A – control artist’s uncoloured, 15 copies B–P reserved for collaborators and friends, copies 1–500 – for bibliophiles. This copy № 56, autographed by the publisher's monogram: "HP". Catalogue Raisonné: J.-P. Dutel, vol 2 (1920–1970), #1726, p. 207-8. Provenance: J.-P. Dutel.
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  • Das Kaiserlein Napoleon, und seine Rauberhorten. L. Schlemmer, hand-coloured etching, c. 1815.

    Hand-coloured etching by L. Schlemer from Nürnberg, printed in c. 1815. Napoleon, with long ears, is seated on a throne made of a pile of crockery, which is falling over. Referring to the Battle of Waterloo. See p. 134 in vol. 2 of  A. M. Broadley. Napoleon in caricature, 1795-1821. — London, New York: John Lane, 1911.
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  • Erzählungen am Toilettentische von Choisy le Conin [i.e. Franz von Bayros].

    Publisher's flapped portfolio 32.8 x 26.8 cm, gilt-ruled and gilt-lettered quarter faux-parchment waxed paper over brown paper boards with pasted illustration after von Bayros within gilt arabesque frame. Possibly published in Vienna by Heinrich Conrad in 1905 or 1908. The portfolio contains the title page with a vignette and 15 loose wove paper sheets 32 x 26.2 cm of collotype reproductions after drawings by Franz von Bayros. Cover gilt lettering: Choisÿ | le Conin | Erzählungen | am | Toiletten- | tische || Title-page: Erzählungen | am Toilettentische | von | CHOISY LE CONIN | {vignette} || Title-page verso: Inhalt: | 1. Die Tabaksdose | 2. Viola de Gamba | 3. Der Bote | 4. Nicht drängeln, Kinder! | 5. Die blaue Feder | 6. O what a pretty like-place! | 7. Die Sonnenuhr |8. Der Temel der der Cotÿs | 9. Der Fetischist | 10. Jupiter und Europa | 11. Die Witwe | 12. Paroxÿsme-erotique | 13. Der Rivale | 14. Die rote Lehrerin | 15. Tantalus | Nicht im Handel. || Catalogue raisonné: The amorous drawings of the Marquis von Bayros / Part I and II. — NY: Cythera Press, 1968; pp. 95-111 [LIB-2246.2019]  
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  • Armée française. Garde–mobile. Artillerie / Image d’Épinal, c. 1870.

    Hand-coloured woodcut on wove paper, 282 x 392 mm; black ink stamp “5051 2” to reverse. Top: "Armée française. Garde–mobile. Artillerie." — (gothic font) "Französische Armee. Mobil–Garde. Artillerie." — "№103". Below left: "Lith F. C. Wentzel édit. à Wissembourg. (Alsacé); center: Déposé; right: Druck u. Verlag v. F. C. Wentzel in Weissemburg. (Elsass)."; Bottom: "Trompette" — "Capitaine" — "Porte-Drapeau". — "Soldat" — "Cantinière." Jean Frédéric Wentzel (French, 1807 – 1869) – publisher/printer.
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  • Franz von Bayros. Exlibris, c. 1910 — Album of 49 bookplates.

    A set of 49 prints, heliogravures and etchings, tipped-in on 285 x 257 mm grey cards, in a green marbled folder with a gilt-lettered black label to the front. No publisher, no place, no year (s.l., s.n., s.d.), printed in circa 1910.
    1. Vlastimil Blažek (Czech, 1878 – 1950): heliogravure, sheet 180 x 137 mm, plate 152 x 114 mm; laid paper, black sepia ink; unsigned.
    2. Ex libris Gerhard Wunderlich (architect in Dresden): heliogravure, sheet 205 x 150 mm, plate 158 x 115 mm; wove paper, brown sepia ink; inscription: heliogravure, sheet 180 x 137 mm, plate 152 x 114 mm; laid paper, sepia ink; inscription to top “Es ist alles so eng”; signed “F (backwards). Bayros”.
    3. Ex libris William Lipka: heliogravure, sheet 140 x 125 mm, plate 112 x 98 mm; laid paper, black sepia ink; signature hardly legible.
    4. Nikolaus Schindler (amateur photographer in Vienna): heliogravure, sheet 142 x 150 mm, plate 110 x 117 mm; laid paper, black sepia ink; unsigned.
    5. Sussy de Coiquard: heliogravure, sheet 160 x 140 mm, plate 128 x 110 mm; laid paper, black sepia ink; unsigned.
    6. Illegible, looks like “Vielluer Febréy”: heliogravure, sheet 120 x 109 mm, plate 93 x 85 mm; laid paper, black, sepia ink; signed “F (backwards). Bayros:”.
    7. Ex libris Erich Liebermann-Rosswiese (Greman-Jewish, 1886 – 1942): heliogravure, sheet 180 x 139 mm, plate 118 x 88 mm; wove paper, black sepia ink; unsigned.
    8. Ex libris Dr. phil. Rudolf Ludwig: before letters, heliogravure, sheet 150 x 132 mm, plate 120 x 110 mm; laid paper, black sepia ink; unsigned. See [LIB-3258.2023] John Cleland. Die Memoiren der Fanny Hill. — Paphos [i.e. Vienna]: C. W. Stern, 1906.
    9. Unidentified: before letters, heliogravure, sheet 150 x 115 mm, plate 113 x 88 mm; laid paper, black sepia ink; signed “F. Bayros” in the manuscript. Circumstantial evidence tells that this bookplate belongs to someone A.W.(Artur Wolf). See №22.
    10. Lulu. Monachia. Gest. v. Ritter Dialekt und Junker Erich: heliogravure, sheet 204 x 152 mm, plate 160 x 118 mm; wove paper, black sepia ink; unsigned. See №20.
    11. Kellner Jstván: (István): heliogravure, sheet 118 x 100 mm, plate 85 x 70 mm; laid paper, black sepia ink; signed “Franz Bayros” in the script (hardly legible).
    12. Adyton: heliogravure, sheet 170 x 130 mm, plate 113 x 85 mm; wove paper, black, sepia ink; signed “F (backwards). Bayros”.
    13. 13.Ex libris George Arthur Buhl (American, 1883 – 1959): heliogravure, sheet 166 x 140 mm, plate 120 x 92 mm; wove paper, black sepia ink; inscription “!I will! | !And I can!”; bust inscribed “T. Carlyle”; signed “F (backwards). Bayros” (hardly legible).
    14. Ex-Libris Heinrich und Lise Fuhrmann: heliogravure, sheet 165 x 149 mm, plate 120 x 103 mm; wove paper, black sepia ink; signed “F (backward). Bayros”; inscription “So schaff ich am sausenden Webstuhl der Zeit und wirke der Gottheit lebendiges Kleid” (from ‘Faust’ by Goethe).
    15. Ex libris Gerhard Wunderlich (architect in Dresden): heliogravure, sheet 165 x 137 mm, plate 135 x 105 mm; laid paper, black, sepia ink; signed “F (backwards). Bayros”.
    16. Ex Libris Walther u. Amelia Fahrenhorst; Walter Fahrenhorst (German, 1871 – 1938): heliogravure, sheet 165 x 140 mm, plate 128 x 95 mm; wove paper, black sepia ink; signed “F. Bayros” in the manuscript. The inscription behind the strings: NITOR (lat. beauty, glamour).
    17. Ex Libris Margot Lewknecht; heliogravure, sheet 145 x 140 mm, plate 128 x 118 mm; laid paper, black sepia ink; signed “F. Bayros”.
    18. Ex Libris Walther Heinisch (publisher in Carlsbad); heliogravure, sheet 185 x 145 mm, plate 140 x 110 mm; wove paper, sanguine; male bust with an inscription to the base: “Arnold Boeklin” / Arnold Böcklin (Swiss, 1827 – 1901); inscription: “mit gêru scal man geba infâhan” – a line from Hildebrandslied, the earliest poetic text in German. Unsigned.
    19. Bookplate with music score GGDBGC; heliogravure, sheet 125 x 135 mm, plate 100 x 110 mm, with monogram «HCJ»; laid paper, brown sepia ink; signed “F. Bayros”.
    20. Bookplate with inscription: Lulu aus Praga | Gest v. Ritter Dialekt / Monachia / Monachia / und Junker Erich; heliogravure, sheet 182 x 147 mm, plate 160 x 120 mm, image 122 x 105 mm; wove paper, bluish-black sepia ink; unsigned. See №10.
    21. Bookplate, no inscription; heliogravure, laid paper, sepia ink, sheet 148 x 127 mm, image 84 x 79 mm; signed F. Bayros in the manuscript beneath the image.
    22. Ex libris Artur Wolf: heliogravure, laid paper, sepia ink, sheet 170 x 150 mm, image 120 x 105 mm; signed F. Bayros in the manuscript to the frame of the image. See №9.
    23. Ex Libris E. K. Weigl: heliogravure, laid paper, sepia ink, sheet 139 x 121 mm, plate 112 x 97 mm; unsigned; inscription above male portrait: “LEONARDO”.
    24. Ex libris Dr. A. Bergmann: heliogravure, wove paper, sepia ink; sheet 180 x 140 mm, plate 130 x 105 mm; signed F. Bayros in the manuscript.
    25. Grete Cäcilie (monogram “PS”): heliogravure, laid paper, sepia ink, sheet 161 x 130 mm, plate 128 x 103 mm, signature illegible.
    26. Emma Steigleder: heliogravure, laid paper, black ink, sheet 181 x 141 mm, plate 158 x 117 mm, signed F. Bayros in the manuscript. Inscription “Si vis amari, ama! Seneca” [If you want to be loved, love] to the attic of the arch.
    27. Bruno Fischer: heliogravure, laid paper, sepia ink, sheet 186 x 145 mm, plate 155 x 116 mm, signed “F (backward). Bayros”. Inscription to bottom “Gehl Weck’ ihn nicht auf seien wir froh dass er einmal schläft!”
    28. Harnasch: heliogravure, wove paper, sepia ink; unsigned; sheet 140 x 132 mm, plate 100 x 85 mm; unsigned.
    29. Eduard Klampfl: heliogravure, laid paper, sepia ink, sheet 165 x 145 mm, plate 135 x 110 mm, signed “F (backwards). Bayros”; portrait bust of the composer Richard Wagner (German, 1813 –1883).
    30. Jorge Monsalvatje: heliogravure, wove paper, sepia ink; sheet 189 x 160 mm, plate 150 x 115 mm; signed F. Bayros in the manuscript.
    31. E. K. W.: wove paper, sepia ink; sheet 150 x 120 mm; signed “Bayros”.
    32. Unidentified bookplate: wove paper, sepia ink; sheet 150 x 120 mm; signed “F. Bayros 09” in the manuscript.
    33. Ex-Libris Helene and Emil Lemberger: heliogravure (or soft ground etching), laid paper, sepia ink, sheet 180 x 163 mm, plate 150 x 130 mm, signed “F. Bayros” in the manuscript.
    34. M. Z.: wove paper, sepia ink; sheet 130 x 170 mm, plate 90 x 120 mm; signed “F (backwards) Bayros”.
    35. Ex libris Frankl Frigyes Vilmos: heliogravure (or soft ground etching), laid paper, sepia ink, sheet 140 x 148 mm, unsigned. Frigyes Frankl, born in Tejfalu, Szlovákia, died in 1943.
    36. Ex libris Anton Bürck: heliogravure, wove paper, sepia ink; sheet 170 x 137 mm, plate 123 x 104 mm; unsigned. Anton Burck (German,1881 – 1951) of Palatinate, Bavaria.
    37. Aus den büchern A. W.: heliogravure, laid paper, sepia ink, sheet 152 x 136 mm, plate 120 x 105 mm, signed “F. Bayros” in the manuscript.
    38. Ex libris Hans Hickl: heliogravure, laid paper, sepia ink, sheet 150 x 125 mm, plate 115 x 95 mm, signed “Ω”.
    39. Ex libris Karl Wehle: soft ground etching, laid paper, brown sepia ink, sheet 107 x 90 mm, plate 80 x 65 mm, inscription “Gut!” in the centre; unsigned. Karl Wehle (Austrian, 1901 – 1933)
    40. Ex libris Dr. Paul Berger: etching, laid paper, black ink, sheet 140 x 115 mm, plate 115 x 85 mm, signed “F (backwards). Bayros”.
    41. Unidentified bookplate: etching, laid paper, black ink, sheet 145 x 115 mm, plate 85 x 70 mm, unsigned.
    42. Ex Bibliotheca Erotica Carl Georg von Maassen: soft ground etching, india paper, black ink, sheet 76 x 78 mm, signed “FB”.
    43. Ex Bibliotheca Erotica Carl Georg von Maassen: soft ground etching, india paper, black ink, sheet 79 x 79 mm, signed “F. von Bayros”.
    44. Paul Mixa: soft ground etching, laid paper, sanguine ink, sheet 122 x 111 mm, plate 90 x 85 mm, inscription: “Gerne hör’ich wenn du singest und ich horche wenn du schweigest” [I like to hear when you sing and I listen when you are silent].
    45. Ex libris Drs Q. M. Vyskocil.: etching, laid paper, sanguine ink, sheet 141 x 115 mm, plate 115 x 75 mm, inscription: “MIT REINEN HAENDEN” [with pure hands], signed “F. Bayros” in the manuscript.
    46. Ex libris Andrée Bearn de Riquer: soft ground etching, laid paper, sanguine ink, sheet 136 x 88 mm, plate 100 x 62 mm, signed “F (backwards). Bayros”. Andrée Béarn [Marguerite Laborde] (French, 1880 – 1973), spouse of Alexandre de Riquer (Catalan, 1856 – 1920).
    47. Ex musicis Drs Blažek VL: etching, wove paper, sanguine ink, sheet 141 x 116 mm, plate 115 x 90 mm, inscription: “MIT REINEN HAENDEN” [with pure hands], signed “F. Bayros” in the manuscript. See Vlastimil Blažek (Czech, 1878 – 1950) № 1 in this series.
    48. Ex libris Paul Lindenberg: etching, wove paper, sanguine ink, sheet 130 x 114 mm, plate 95 x 90 mm, image 80 x 72 mm, inscription: “ad pios usus” (for pious uses); signed with monogram “F (backwards). B”.
    49. Unidentified bookplate: heliogravure, laid paper, sanguine ink, sheet 150 x 131 mm, plate 120 x 100 mm, signed “F. Bayros” in the manuscript.
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