//Lithography
  •

    The Repository of Arts, Literature, Fashions, Manufactures, &c., 2nd series, vol. 13, Nos. 73-78 (Jan–Jun) 1822. — London: Rudolph Ackermann, 1822.

    Pagination: [2] – letterpress title / blank, t.p. with contents / to readers, [1] 2-376 + 7 b/w and 16 coloured plates (total 23); this differs to Abbey’s description of 372 pages + 4 pages index, and 41 plates (lacking 18 plates). In No 73 lacking 3 plates: Quadrant Regent st., Morning dress and Full dress. In No 74 lacking 5 plates: Charles str., Brienz, head dresses, full dress, and muslin patterns. In No 75 lacking 5 plates: 4 with bank notes and Castle of Rinkenberg. In No 76 lacking 1 plate: Cavern St. Beat. In No 77 lacking 2 plates: Wetzar and Lake Thun. In No 78 lacking 2 plates: Crescent at Portland Place and Environs of Thun. Collation: 4to; letterpress title, [A]1 B-Z4 Aa-Zz4 3A-3C4 3D2. Binding: 23.5 x 15.5 cm; double fillet blind-ruled half-calf over pebbled cloth boards, raised bands ruled blind, crimson label with gilt lettering to spine. References: Martin Hardie (1906), p.310 [LIB-2623.2021]; R. V. Tooley (1935), p. 26 [LIB-2641.2021]; J. R. Abbey (1953), Cat. № 212, p. 174 [LIB-2622.2021].
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  • ‎Arsène Alexandre. L’Art du Rire et de la Caricature. — Paris: Librairies-imprimeries réunies, [1892].

    Hardcover volume 28.5 x 20.8 cm, quarter brown morocco over marbled boards, ruled in gilt, spine with raised bands, gilt in compartments, gilt lettering, marbled endpapers, top margin gilt, original lithographic wrappers designed by A. Willette preserved; pp.: [4] h.t., t.p., [1] 2-350 [2], 300 b/w ils in-text and 12 coloured photomechanical reproductions extraneous to collation; collated in-4o: π2 1-444; Title-page: L'ART DU RIRE | ET DE | LA CARICATURE | PAR ARSÈNE ALEXANDRE | 300 FAC-SIMILÉS EN NOIR ET 12 PLANCHES EN COULEURS | D’APRÈS LES ORIGINAUX | {vignette} | PARIS | ANCIENNE MAISON QUANIN | LIBRAIRIES-IMPRIMERIES RÉUNIES | 7, RUE ST-BENOIT | MAY & MOTTEROZ, DIRECTEURS || Contributors : Librairie-Imprimerie réunies (Paris, 1880-1908) – publisher. Arsène Alexandre (French, 1859 – 1937) – author. Adolphe Willette (French, 1857 – 1926) – artist (wrapper)
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  • Pierre Mac-Orlan. Les jeux du demi-jour / avec douze lithographies de Vertès. — Paris: Les arts et le livre, 1926.

    Binding: Pink French flapped wrappers 38.5 x 29 cm, in a frame: LES JEUX | DU DEMI-JOUR | PAR | PIERRE MAC ORLAN | {vignette} | AVEC | DOUZE LITHOGRAPHIES DE | VERTÈS | LES ARTS ET LE LIVRE || Title-page (turquoise and black): LES JEUX | DU DEMI-JOUR | PAR | PIERRE MAC ORLAN | {vignette} | AVEC | DOUZE LITHOGRAPHIES DE | VERTÈS | LES ARTS ET LE LIVRE | 47, RUE LAFFITTE, PARIS | — | 1926 || Pagination: [2] blank, [2] h.t. / limitation, [2] t.p. / blank, i-iii [iv] 1-45 [46 blank] [2] table / colophon, [2] blank; total 60 pages, plus 12 plates extraneous to collation, by Marcel Vertès. Edition: text printed by Robert Coulouma in Argenteuil (director H. Barthélemy), lithographs printed by Edouard Duchâtel in Paris, print run of 600 copies, 500 on vélin pur fil Lafuma, this copy on that paper, though unnumbered (№ blank). Contributors: Pierre Mac-Orlan (French, 1882 – 1970) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes
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  • Calendrier de l’abeille, 1857 / Lithography.

    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.
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  • James. De bien jolies bottes, ces Prussiens, etc., 1870

    James. De bien jolies bottes, ces Prussiens… – Paris: Deforet & Cesar, 1870.

    Artist: James (nothing else is known). According to Maurice Quentin-Bouchart (p. 95), this is sheet №2 of only two known caricatures by James except for Collection Wentzell (publisher) of 14 sheets. Text: De bien jolies bottes, ces Prussiens, mais quelle odeur!..... [What beautiful boots these Prussians have, but what an odour!.....] Two women from the bourgeoisie stand in front of a line of Prussian officers. One covers her nose with a handkerchief and hides what she is saying from the men with her fan.
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  • Songes Galantes: 12 dessins par Margit Gaál. — Paris: Édition privée, 1920.

    In an owner’s quarter buckram cardboard folder with a vegetation diaper design, ms blue ink lettering to front: “Songes galantes | 12 dessins par | Margit Gaal” at the centre, “Arpad Rob Laszlo | à Paris | 1938” in the lower right corner. Loose sheets with the 1st leaf t.p. / table de planches, and then 12 leaves of lithograph plates. Title-page: SONGES GALANTES | 12 DESSINS PAR | MARGIT GAAL | ÉDITION PRIVÉE | PARIS 1920 ||, ms inscription in blue ink in the middle : “Collection par | Árpad Rob Laśzló | techn. d’avion | Paris 1937”. Limitation: Edition limited to 500 copies of which № 1-100 signed by the author. This is copy № 407. References: Dutel (1920-1970) № 1413 (published in 1921); Honesterotica (indicated the year of death as 1965, however, there is no proof). Contributors: Gaál, Margit (Hungarian, 1898 – 1920) – artist.  
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  • La Belle Assemblée, or Bell’s Court and Fashionable Magazine / Vol. XI.–New Series. Jan. 1 to Jun 30, 1815. — London: J. Bell, 1815.

    Title: LA | BELLE ASSEMBLÉE | OR, | BELL'S | COURT AND FASHIONABLE | MAGAZINE, | ADDRESSED PARTICULARLY TO | THE LADIES. | VOL. XI.—NEW SERIES. | FROM JANUARY 1, TO JUNE 30, 1815. | LONDON: | Printed for J. BELL, GALLERY OF FINE ARTS, | Clare-Court, Drury-Lane. | 1815. || Pagination: [2] – 11th volume wood-engraved pictorial title page, [1, 2] – January faux-title and table of content, [3] 4-284 [2] – index to 11th vol. Notes: February f.t. not paginated, but within the collation; the last page of the index at the very end paginated [iii]/iv, so pages i/ii missing (the gathering Nn lacking one sheet) Collation: 4to; π1 A-Mm4 Nn3, 28 plates extraneous to collation (lacking 2 plates). Binding: Half brown morocco over marbled boards, flat spine, compartments gilt-ruled with double-fillet and gilt-lettered. Contents: Jan: pp. 1-48, 5 plates. Feb: pp. 51-96, 5 plates. Mar: pp. 97-144, 5 plates. Apr: pp. 145-192, 5 plates. May: pp. 193-240, 5 plates. Jun: pp. 241-284, 3 plates (lacking 2 colour prints). Fashion plates, two per issue, are hand-coloured copperplate engravings, unsigned. Stipple engraved portraits, one per issue as frontispiece: (1) Actress Catherine Stephens, Countess of Essex (British, 1794 – 1882) by James Hopwood the Elder [James Hopwood Senior] (British, c. 1740s/50s – 1819) after Sir George Hayter (British, 1792 – 1871); (2) Madame de Talleyrand, Princesse De Bénévent (Danish-French, 1761– 1834), unsigned, but can be attributed to François Gérard (French, 1770 – 1837); (3) Actress Miss Sarah Booth (1793 – 30 December 1867), unsigned; (4) Group portrait of the French Royal family (Louis XVI, Louis XVII, Marie Antoinette, Madam Elizabeth, Louis Antoine de Bourbon, Duke d'Enghien, and Marie Thérèse Louise of Savoy, Princesse de Lamballe), unsigned, (5) Actress, Miss Sarah Blanche Matthews (b.1794) by Thomas Burke (Irish, 1749 – 1815) after George Hayter. The sixth print, in the March issue, is a lithographic portrait of Napoléon Bonaparte (French, 1769 – 1821), unsigned.  
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  • Jean Viollis. Bonne-fille / Illustrations de André Dignimont (La Collection Originale). — Paris: Éditions Mornay, 1926.

    Hardcover volume, 22.5 x 19.5 cm, collated 4to, owner’s terracotta cloth with gilt-lettered black label to spine, publisher’s wrappers preserved, pp.:3 ffl, front wrapper, 3 ffl, [2] h.t./limit, [2] t.p./blank, 1-228 [2] 3 ffl, back wrapper, 3 ffl. Collation: π3 1-314 323. (130 leaves, incl. plates). Title-page (pink and black): Bonne-fille | PAR | JEAN VIOLLIS | Illustrations de | DIGNIMONT | {vignette} | A PARIS | La Collection Originale | ÉDITIONS MORNAY | 37, BOULEVARD DU MONTPARNASSE | MCMXXVI || Illustrations: 14 full-page colour plates, incl. frontispiece and endpiece, within collation but not within pagination, verso blank, and numerous head- and tailpieces and in-text stencil-coloured (au pochoir) lithography after André Dignimont. Limitation: A print run of 628 copies for sale, of which 18 on Japon Ancien, 30 on Japon Impérial, 90 on Hollande, 490 on Rives (139-628), plus 50 copies not for sale. Printed on May 12, 1926, at l’Imprimerie Kapp (Vanves), this copy is № 380. Provenance: Feodor Rojankovsky, pictorial bookplate “ИЗ КНИГ РОЖАНКОВСКАГО” to front pastedown, ms inscription to front ffl2 top “TH. ROJANKOWSKY | 14 VIII 30” in block letters. One of the possible transliterations of Feodor Rojankovsky's name is Theodor Rojankowsky. Contributors: Jean-Henri d'Ardenne deTizac [JeanViollis] (French, 1877 – 1932) – author. André Dignimont (French, 1891 – 1965) – artist. Frédéric Emile Kapp (French, 1851-193?) – printer. Georges Mornay (French, 1876 – 1935) et Antoinette Mornay – pubishers. Feodor Rojankovsky [Rojan; Фёдор Степанович Рожанковский] (Russian-American, 1891 – 1970) – provenance.
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  • Complexes: 40 dessins de Vertès, préface de Pierre Mac-Orlan. — Monte-Carlo: André Sauret, 1948.

    Binding: Grey double-slipcase 34 x 16.5 cm, pictorial folder, French flapped pictorial wrappers, both folder and wrapper with green ms lettering and vignette in sanguine, green ms lettering to spine. Collation: folio in-4to, two leaves in wrappers at the front and back, π8, 104 [11]2, total 50 leaves, incl. plates. Pagination: [4], [2] h.t. / limitation, [2] blank, [1-3] blank, [4-6] frontis., t.p., blank. 7-86 [2] [4] colophon, 100 pages total. Title-page (sanguine and black): COMPLEXES | 40 | DESSINS DE | Vertès | PREFACE DE | PIERRE MAC ORLAN | ANDRÉ SAURET | ÉDITIONS DU LIVRE ★ MONTE-CARLO || Illustrations: One on the front covers, one on the back one headpiece vignette, 37 plates, incl. frontispiece in colour and three on a double-page (full leaf), and one original pencil drawing. Limitation: 890 copies of which 40 (№ 1-40) signed by the artist and contain one original drawing; this copy is № 27. Edition: published by André Sauret, lithographs after Vertès drawings by Georges Duval, printed by Fernand Mourlot; text printed at “La Ruche” under the direction of A. and P. Jarach. Print run completed on November 9, 1948. Contributors: Pierre Mac-Orlan (French, 1882 – 1970) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. André Sauret (Monaco, fl. 1952 – 1976) – publisher. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes
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  • Napoléon III visitant a Lyon, les inondes du 2 juin 1856 / Lithography.

    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.  
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  • Job. La Bataille de Louqsor, par Job., 1869

    Job. La Bataille de Louqsor. – Paris: L’Éclipse, 07-NOV-1869.

    L'Éclipse : journal hebdomadaire, №94, 07-11-1869. La Bataille de Louqsor, par Job. [The Battle of Louqsor, by Job]. Le père Gagne, monté sur l'Obélisque, s'écrie: — Citoyens, du bas de ce monument, quatre-vingt mille…..parapluies me contemplent. [The father Gagne mounted on the Obelisk, cries out: — Citizens, from the bottom of the monument, eighty thousand….umberellas contemplate me]. Étienne-Paulin Gagne, known as Paulin Gagne (French, 1808 – 1876), holding a hat with a tricolour cockade and umbrella with the head of a devil on its grip straddles the obelisk of Luxor at the centre of the Place de la Concorde with marching scarabs on it. A spider dangles from his heel. In the background is The Palais Bourbon, a meeting place of the French National Assembly. The ground is made out of open umbrellas. Paulin Gagne was a graphomaniac poet, essayist, lawyer, politician, inventor, and eccentric, and a perpetual candidate for the Assembly. Ref.: Gallica; Bibliothèque nationale de France, département Philosophie, histoire, sciences de l'homme, FOL-LC13-114
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  • Alfred Machard. Printemps sexuels… L’épopée au faubourg‎ / Lithographies de Jean Auscher. — Paris : ‎Éditions M.-P. Trémois, 1928.

    Description: One volume, 27 x 21 cm, collated 4to, bound in ¾ red morocco over marbled boards, raised bands, gilt in compartments, gilt lettering to spine, marbled endpapers, publisher’s wrappers and spine preserved, T.E.G. Title-page: ALFRED MACHARD | – | PRINTEMPS | SEXUELS… | L'EPOPEE AU FAUBOURG‎ | Des anges ? Non. | Des petit d’hommes… | LITHOGRAPHIES DE | JEAN AUSCHER | PARIS | ‎ÉDITIONS M.-P. TRÉMOIS | 43, AVENUE RAPP | – | 1928 || Collation: 1st blank, front wrapper, 3 blanks, π5 (h.t./limitation, t.p./copyright, dedication, Freud, Rimbaud), 1-214, 2 blanks, back wrapper, spine, last blank; total 94 leaves between the wrappers, and 10 plates extraneous to collation, incl. frontispiece – chromolithographs by Jean Auscher. Pagination: [6 blanks] [1-10] 11-175 [176] [2 colophon] [4 blanks], total 178 pages, ils. Limitation: Print run limited to 352 copies, one № 0 unique on Japon paper, enriched; one № 00 on Japon paper, enriched; 15 copies marked A-O on Japon paper, enriched; 35 copies on Hollande Van Gelder, enriched with one suite in black, № I-XXXV; 300 copies on vélin d’Arches, № 1-300, of which this copy is № 127. Colophon: Printed on April 20, 1928; text by Coulouma (Argenteuil), plates by Mourlot Frères (Paris). Contributors: Alfred Machard (French, 1887 – 1962) –author. Jean Auscher (French, 1896 – c. 1950) – artist.
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  • Alois Senefelder. A complete course of lithography: Containing clear and explicit instructions in all the different branches and manners of that art. — London: Rudolph Ackermann, 1819.

    Title: A COMPLETE | COURSE OF LITHOGRAPHY: | CONTAINING | Clear and Explicit Instructions | IN ALL THE | DIFFERENT BRANCHES AND MANNERS OF THAT ART | ACCOMPANIED BY | ILLUSTRATIVE SPECIMENS OF DRAWINGS. | TO WHICH IS PREFIXED A | HISTORY OF LITHOGRAPHY, | FROM ITS ORIGIN TO THE PRESENT TIME. | By ALOIS SENEFELDER, | INVENTOR OF THE ART OF LITHOGRAPHY AND CHEMICAL PRINTING. | WITH | A PREFACE | By FREDERIC VON SCHLICHTEGROLL, |Director of the Royal Academy of Sciences at Munich. | TRANSLATED FROM THE ORIGINAL GERMAN, BY A.S. | London: | PRINTED FOR R. ACKERMANN, 101 STRAND. | 1819. || Pagination: [i-iii] iv-xxviii, [4] [1] 2-342. Collation: 4to; [a]-d4, B-2U4 2X2, +14 lithographed plates by Ackermann (incl. 1 folding, 1 colour frontispiece and 1 portrait of A. Senefelder); plates opposite to pp. [i], [1], 193, 198, 203, 228, 232 (fold.), 256, 258, 264, 269, 290, 302, and 305. Binding: By Anne Krawitz (Philadelphia, PA), 27.5 x 21 cm, modern full mottled calf, boards ruled in gilt, flat spine, compartments ruled in gilt, crimson label with gilt lettering to spine, printed on wove paper; round book-plate to front paste-down “TWM, The Whitehead Library”. Edition: 1st in English. Ref.: MET: Accession Number: Ref.20; RCT: RCIN 1195886;  Contributors: Alois Senefelder (German, 1771 – 1834) – author of the original and translator. Friedrich Schlichtegroll (German, 1765 – 1822) – author of preface. William Clowes (British, 1779 – 1847) – printer. Rudolph Ackermann (German-British, 1764 – 1834) – publisher and lithographer. Samuel Prout (British, 1783 – 1852) Maximilian Joseph, King of Bavaria (German, 1756 –1825) – dedicatee.
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  • Pierre Louÿs. Les aventures du roi Pausole; Au pays du roi Pausole / Illustré par Marcel Vertès (2 vol., enriched). — Paris: Léon Givaudan, 1930.

    Two volumes in owner’s uniform so called Jansenist binding by someone Alix (signed in gilt inside), gilt lettering to spine, each in a slipcase. Vol. 1: full crimson morocco 32.5 x 26 x 6.5 cm in a  33.3 x 27 x 7 cm slipcase, cloth endpapers, all edges gilt, publisher’s wrappers preserved, autographed drawing by Vertès to h.t. “à monsieur Willard | bien sympathiquement | Vertès | Paris 1930”. Collation: 3 blanks, front wrapper, 2 blanks, [10] h.t./limit., t.p., art., dedic., person., [2] 3-487 [488 blank], [2] coloph., 3 blanks, spine, 3 blanks; 74 dry-point illustrations by Marcel Vertès within collation; printed on thick wove paper by ‘Arches’ watermarked “Pausole & Vertès”. Title-page (red and black): LES AVENTURES | DU | ROI PAUSOLE | de | PIERRE LOUŸS | {vignette} | AUX DÉPENS D'UN AMATEUR | PARIS, MCMXXX || Limitation: CETTE ÉDITION DU ROMAN | DE |PIERRE LOUŸS | LES AVENTURES DU ROI PAUSOLE |  A ÉTE COMPOSE EN CARACTÈRE GARAMOND DU CORPS 18 | ET IMPRIMEE SUR VÉLIN A LA FORME DES PAPETERIES | D' ARCHES FILIGRANÉ | PAUSOLE & VERTÈS | ELLE EST ILLUSTRÉE DE SOIXANTE-QUATORZE | POINTES-SÈCHES ORIGINALES | DE | VERTÈS | SON TIRAGE A ÉTÉ STRICTEMENT LIMITÉ A | QUATRE-VINGT-DIX-NEUF EXEMPLAIRES NUMÉROTÉS | DE 1 A 99 ET CONTENANT : | 1° LA SUITE DES CUIVRES AVEC REMAROUES. | 2° UNE SUITE DES 15 PLANCHES REFUSÉES. | IL A ÉTÉ TIRÉ EN OUTRE, POUR L' ARTISTE ET LES COLLABORATEURS, | QUELQUES EXEMPLAIRES NOMINATIFS, DONT DEUX IMPRIMÉS SUR PAPIER | CHIFFE D'AUVERGNE A LA MAIN | EXEMPLAIRE | № 9 || Colophon: Cet ouvrage, établi aux dépens de m. L. Givaudan, a été achevé d'imprimer le quinze novembre mil neuf cent trente, pour le texte, sur les presses de R. Coulouma, maitre imprimeur a Argenteuil, H. Barthélemy, directeur, et pour les pointes-sèches, dans les ateliers de «La Tradition", a Paris. Limited edition of 99 copies, this is copy № 9. Vol. 2: Three-quarters crimson morocco over cloth outlined gilt, 32.7 x 27.8 x 4 cm in a  33.3 x 28.2 x 4.3 cm slipcase, cloth endpapers, all edges gilt, printed on thick wove paper by ‘Arches’ watermarked “Pausole & Vertès”. Collation: 3 blanks, 74 unpaginated leaves of plates (main suite avec remarque), blank, 15 leaves of plates (refusées), t.p./limit., blank, 30 leaves of plates (15 prints in two states each, with and without ‘remarks’) titled Au pays du Roi Pausole, 3 blanks. Title-page (red and black): AU PAYS | DU | ROI PAUSOLE | Quinze cuivres | gravés par un artiste | inconnu | de la suite | du Roi | ❦ | —| TRYPHÈME. MCMXXX. || Limitation: IL A ÉTÉ TIRÉDE CETTE SUITE | DE POINTES-SÈCHES VINGT- | CINQ EXEMPLAIRES SUR VÉ- | LIN A LA FORME DES PAPETE- | RIES ARCHES AU FILIGRANE | DE PAUSOLE. CES SUITES NON | MISES DANS LE COMMERCE | SONT RÉSERVÉES A SA MAJES- | TÉ, AUX REINES PRÉFÉRÉES | PARMI LL. AA. RR. ET A QUEL- | QUES FIDÈLES SERVITEURS. | № 13 || Limited edition of 25 copies, this is copy № 13; Enriched with an original copper plate with one of the illustrations. Marcel Willard (French,  – provenance. Catalogue raisonné: Dutel (III) 1057; Nordmann (II) № 307; Vokaer 26. Ref.: honesterotica.com Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Léon Givaudan (French, 1875 – 1936) – publisher. Seller's description:Les Aventures du Roi Pausole. Paris, Aux dépens d'un amateur, 1930. 2 volumes in-4, maroquin rouge janséniste, tranches dorée, couverture et dos, emboîtage. Le volume de suites est relié en demi-maroquin rouge. (Alix). Ouvrage illustré de 74 pointes-sèches de Marcel Vertès. Tirage à 99 exemplaires sur vélin d'Arches, comportant la suite des cuivres avec remarque, ainsi qu'une suite des 15 planches refusées. Exemplaire enrichi d'une plaque de cuivre ayant servi à une des illustrations, d'un dessin avec envoi autographe signé de l'artiste sur la page de faux-titre et d'une double suite des 15 pointes-sèches par un artiste inconnu intitulée Au Pays du roi Pausole. Dos légèrement passés.
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  • La Correctionnelle: Petites causes célèbres, études de mœurs populaires au dix-neuvième siècle / par Gavarni. — Paris: Martinon, 1840.

    Title-page: LA | CORRECTIONNELLE | PETITES CAUSES CÉLÈBRES | ÉTUDES DE MŒURS POPULAIRES | Au Dix-Neuvième Siècle | ACCOMPAGNÉES DE CENT DESSINS | PAR GAVARNI | {woodcut vignette} | PARIS | Chez Martinon, rue du Coq-Saint-Honoré, 4 | 1840 || Collation: 2o, π3 (t.p. (wrapper?), h.t., t.p.), 1-1012; 205 leaves total, of them 100 plates, lithographs by Gavarni. Pagination: [6] [1] 2-403 [404], 410 pages total, incl. ils. (BnF calls for 426 pages total). Note: plate № 8 is numbered 9, plate № 9 numbered 8; p. 266 numbered 264, p. 268 numbered 266, p. 362 numbered 374, p. 364 numbered 376 (as called for by Carteret). Binding: “Romantique” publisher's quarter calf with gilt lettering and design elements over red paper boards, marbled endpapers. Complete 100 issues of the 4-page “La Correctionnelle” with a woodcut vignette after Gavarni on the 1st page of each issue, published between December 1839 and December 1840, and collected under one cover in 1840 by Martinon. Catalogue raisonné: Carteret (Le trésor, 1927): pp. 177-8; Brivois (1883): p.112. Both authors marked the edition as «rare in good condition". Gavarni [Sulpice Guillaume Chevalier] (French, 1804 – 1866) – artist. Amedée Gratiot et Cie. – printer, text. Coulon et Cie.– printer, lithographs. Coulon, Barthélémy Henry (French, fl. 1839 – ?)
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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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  • Alfred Le Petit as Zut. La vénus espagnole et le prince de Joinville, par Zut, 1871

    Alfred Le Petit. La vénus espagnole et le prince de Joinville. — Paris: Duclaux, Madre, 1871

    La vénus espagnole et le prince de Joinville par Zut [The Spanish Venus and the Prince of Joinville, by Zut]. Empress Eugénie poses naked for the Prince de Joinville holding a cigarette in her hand. He stares at her intently from his easel.
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  • Alfred de Musset. Gamiani ou deux nuits d’excès. — s.l.: Au dépens des deux cent cinquante amis de l’époque romantique, s.d. [late 1940s].

    Description: one volume in French flapped wrappers 25.3 x 19 cm, lettered “MUSSET” to front, 5 gatherings of 4 and one of 6 leaves, 26 leaves total, pp.: [4] [2] 3-43 [44] [4], total 52 pages, incl. those in wrappers, unbound; plus coloured and uncoloured suites of 12 lithographs, in a paper folder; in a cardboard tan slipcase 2.8 x 19.3 cm. Artist unknown, publisher unknown, published at the end of 1940s (per J.-P. Dutel). Illustrations are a loose interpretation of original lithographs by Devéria and Henri Grévedon or Octave Tassaert for the 1833 edition ((1926 re-print LIB-3135.2023). Limitation: Edition limited to 250 copies printed on Vélin Chiffon numbered 1 -250 and 24 copies marked by letters A to Z. This is copy № 246, with two suites of plates, one coloured and one b/w. Catalogue raisonné: Dutel (1920-1970) № 1657, p. 189. Alfred de Musset (French, 1810 – 1857) – author.
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  • Francis Carco. Rue Pigalle / Lithographies en couleurs de Vertès. — Paris: B. Grasset, 1927.

    Title-page: FRANCIS CARCO | RUE PIGALLE | LITHOGRAPHIES EN COULEURS | DE | VERTÈS | PARIS | BERNARD GRASSET | Éditeur | 1927 || Description: 25.7 x 19.5 cm, French flapped cream wrappers with black lettering similar to title, lettering to spine, [2] 1st blank leaf, [2] h.t. / blank, plate / blank, [2] t.p. /blank, dedication “A | FRED ANTOINE ANGERMAYER” / blank, [1-2] d.t.p. “CHAPITRE | PREMIER” / blank, [3] 4-124, [2] limitation / blank, [2] last blank leaf; collation: 4to; π4 1-164; total 68 leaves and 14 plates printed by Frères Mourlot after watercolours by Marcel Vertès. Printing : September 15, 1927 by Coulouma in Argenteuil (H. Barthélemy, director); plates printed by Frères Mourlot in Paris; Edition: print run limited to 338 copies of which 22 on Japon Impérial (numbered Japon 1-15 and I-VII) enriched with one original watercolour drawing, one suite in black and one in colour, etc.; 43 copies on Hollande van Gelder (Hollande 1-33 and I-X) with additional suites in black and in colour; 270 copies on Vélin d’Arches (Arches 1-250 and I-XX); and 3 “special” copies. This copy is numbered Arches № 162. Contributors: Francis Carco [François Carcopino-Tusoli] (French, 1886 – 1958) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Frères Mourlot – lithographer. Robert Coulouma (French, 1887 – 1976) – printer. Bernard Grasset (French, 1881 – 1955) – publisher. Fred Antoine Angermayer (German, 1889 –1951) – dedicatee. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes
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  • Marcel Vertès. Le Cirque: 14 Lithographies / Présénte par Jean Cocteau. — Monaco: Les Livres Merveilleux, 1949.

    Publisher’s peach cloth box 555 x 410 mm with coloured lithograph on the lid, autographed with crayons "Le Cirque | 14 LITHOGRAPHIES | DE | {vignette} | Vertes"; in-folio unbound 4 pp. booklet on laid paper watermarked “Marais” and 14 loose leaves of plates on laid paper 520 x 395 mm without a watermark with coloured lithographs signed “Vertes” and numbered “195/250” in pencil; interleaved with tracing paper. Box and plates foxed. Title-page (red and black): LE | CIRQUE | 14 LITHOGRAPHIES DE | VERTÈS | PRÉSENTÉ | PAR | JEAN COCTEAU || Imprint: LES LIVES MERVEILLEUX | MONACO | Il a été tiré de cet album : | 150 Exemplaires, | destinés à | l'Amérique, | distribués bar les soins de | Arthur H. Harlow | de New-York, | & | 100 Exemplaires, | réservés à la France. | 15 Avril 1949 || Limitation: Edition limited to 250 copies (150 for USA, 100 for France); this is copy № 195 printed for France as the American copies marked “Published by Arthur H. Harlow & Co., New York. Seller’s Description: VERTÈS, Marcel (Hungarian-French, 1895-1961). Le Cirque 14 Lithographies de Vertès. Présénte par Jean Cocteau. [Monaco: Les Livres Merveilleux, 1949]. [vi] pp. With all 14 lithographs, each signed by the artist and numbered “195/250”. Text and lithographs 15 ¼ x 20 ½”. In original publisher’s peach cloth box with printed label on lid (box foxed, soiled, lightly worn; lithographs and text foxed). Still, a very good example of this lovely collection, with an introduction by Jean Cocteau (1889-1963). Catalogue Raisonné: Vokaer № 50. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Arthur H. Harlow (American, c. 1877 – 1958) – publisher. Jean Cocteau (French, 1889 – 1963) – author.
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  • A bird’s-eye view of Paris, 1867.

    Lithography on paper by Charles Fichot (French, 1817 – 1903), published in a supplement to the Illustrated London News of July 6, 1867.

    The construction on the foreground is the International Exposition of 1867 (Exposition universelle d'art et d'industrie de 1867). Dimensions: Sheet: 130 x 58 cm; Image: 118 x 43 cm.
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  • [Gustave Droz]. Un été à la campagne. — S.l.: s.n., 1868 [i.e. Paris: s.n., 1926].

    Softcover, 228 x 180 mm, tan French flapped wrappers with red lettering to front[1-4, owner’s glassine dustcover, top edge trimmed, printed on thick wove paper without a watermark; pp.: ffl [1-4 h.t., t.p.] 5-154 [2 blanks] colophon to back ffl recto, plus 12 plates with hand-coloured lithographs, extraneous to collation. Pencil and pigment drawing to h.t. signed “J. D’A” with gift manual inscription “A Monsieur et Madame Chalamel [sic] ce tardif mais sincère souvenir de sympathie”, signed “J et Y D’A.” Etching bookplate to front ffl recto: “EX LIBRIS PIERRE CHALLAMEL | JE FONCE DANS LE BROUILLARD”, signed “J A M” (Jean-Adrien Mercier). The signature J. D’A stands for Jean d’Angers, while Y D’A stands for Jean-Adrien’s wife Yvonne (1902—1999), nicknamed Zizi; they married in 1927. According to J.-P. Dutel, the stated illustrator of this edition, Jean d’Angers is indeed Jean-Adrien Mercier. The text belongs to Gustav Droz and, possibly, Auguste Poulet-Malassis. Limitation: the book was printed for subscribers in 30 copies on Japon Impériale paper (№№ 1-30) and 250 copies on vélin du Marais paper (№№ 31-280). This copy bears № 123 and was presented as a gift by the artist and his wife to Pierre Challamel. Title-page (red and black): POUR SERVIR | A L'HISTOIRE | DE NOS MŒURS | UN ÉTÉ | A LA CAMPAGNE | CORRESPONDANCE DE DEUX JEUNES PARISIENNES | RECUEILLIE PAR UN AUTEUR A LA MODE | MDCCCLXVIII || Catalogue raisonné: Dutel III № 2546; honesterotica. Provenance: Pierre Challamel (French, 20th century) Contributors: Gustave Droz (French, 1832 – 1895) – author (presumable). Auguste Poulet-Malassis (French, 1825 – 1878) – author (presumable). Jean-Adrien Mercier (French, 1899 – 1995) – artist. Micro photo of the lithography:
    Micro photo of the original drawing:
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  • William Wyld. Monuments et rues de Paris. — Paris: Lith. G. Englemann, publiés par Rittner et Goupil, et Susse Frères, 1839.

    Pictorial album 55.5 x 41.0 cm, publisher’s quarter sheepskin over cloth, upper cover and flat spine lettered in gilt. Title: MONUMENTS et RUES de PARIS | Dessinés et lithographiés par William Wyld, | et publiés par Rittner & Goupil, 15 Boulevard Montmartre, | et Susse Frères, Place de la Bourse. | 1839. Collation: Title plate + 20 plates numbered from 1 to 20, printed by Godefroy Engelmann (French, 1788 – 1839) in tone lithography after drawings by William Wyld (British, 1806 – 1889). Published in Paris by Rittner & Goupil and Susse Frères in 1839. Plates: 54.8 x 39.8 cm. Contents:

    Title page: Tombeau d'Heloïse et d'Abélard

    1. Le Pont Neuf
    2. L'église de la Madeleine
    3. La Porte St. Martin
    4. Palais des Tuileries
    5. Pont des Saints-Pères
    6. Hôtel de Ville
    7. Marché des Innocents
    8. Palais Royal
    9. Boulevard des Italiens
    10. Rue de la Paix
    11. Bourse et Tribunal de Commerce
    12. Porte St. Denis
    13. Pont Royal
    14. Place de la Concorde
    15. Paris from Père Lachaise
    16. Notre-Dame
    17. Jardin des Tuileries with Arc de Triomphe in the Distance
    18. Panthéon
    19. Chambre des députés
    20. Arc de Triomphe de l'Étoile
    Description of Shapero Rare Books, London: A very rare pictorial record of Paris before the French capital was drastically remodelled by Haussmann during Napoleon III’s Second Empire. William Wyld (1806-1889), an English painter and lithographer, set up his studio in Paris in 1834, becoming friends with the French painters Ary Scheffer and Paul Delaroche. His first subjects were fashionable orientalist scenes, however, he soon turned to classical architectural, winning a gold medal at the Paris Salon for his two-meter wide canvas ‘Venice at Sunrise’ in the same year in which he published Monuments et rues de Paris. This series is a compilation of twenty fine views of Paris, showing both architectural features, street scenes and views over the river Seine, as well as a panorama of the city from the cemetery of Père Lachaise. Some of the views, such as the representations of the Palais des Tuileries, the Marché des Innocents or the Pont des Sts Pères, testify to the beauty of these structures that no longer exist.
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  • [Paul Gavarni]. Scènes de la vie privée (Scènes de la vie intime): 6 [i.e. 12] lithographies. — [Paris: Aubert et Cie, 1837]

    Pictorial album 31 x 22.8 cm, bound in quarter red calf over marbled boards with gilt lettering “SCÈNES | DE | LA VIE | PRIVÉE” and gilt ornament to spine; marbled endpapers, flyleaf, blue original wrapper (title-page) lettered SCÈNES | DE LA VIE PRIVÉE. | {vignette} | SIX DESSINS || «Six dessins» struck out, ms inscription beneath “Douze”. Twelve hand-coloured lithographs, some inscribed with letters and/or numbers in reverse, each in a double-rule frame 22 x 16.5 cm, images 18 x 14.5 cm (approx.); series title “Scènes de la vie intime” printed above the frame, image title printed in the lower compartment; ms numbers above the upper-right corner of the frame (state before sequential numbers, ms numbers do not correspond with artist numbering). Flyleaf at the end. Two bookplates to front pastedown: “EX-LIBRIS PAUL GAVAULT” and armorial “IN ROBORE ROBUR | Ex Libris Bourlon de Rouvre”. Content (Roman numerals in parenthesis are publisher's numbers; numerals in italic are Armelhault-Bocher reference numbers):
    1. Titre de la couverture (Title-page) – 2001
    2. (III) Un nid dans les blés (A nest in the wheat) – 2004
    3. (II) Amitié de pension (Friendship in the pension) – 2003
    4. (XI) Bras dessus, bras dessous (Arm up, arm down) – 2012
    5. (I) Causerie (Chat) – 2002
    6. (VI) Prélude (Prelude) – 2007
    7. (IX) Le guet-apens (Ambush) – 2010
    8. (V) Le cabinet noir (The dark chamber) – 2006
    9. (IV) Distraction (Entertainment) – 2005
    10. (X) Leçon de paysage (Landscape lesson) – 2011
    11. (VII) Avant le péché (Before sin) – 2008
    12. (VIII) Après le péché (After sin) – 2009
    13. (XII) La femme du peintre (The painter's wife) – 2013
    Catalogue raisonné: Armelhault-Bocher (2004) p. 478-80, №№ 2001-2013, all marked ‘RRR’ – extremely rare. Ref.: J. Armelhault & E. Bocher. Gavarni: Catalogue raisonné of the graphic work / A revision of the 1873 edition, with essays by Gordon N. Ray and Robert J. Wickenden, and 61 new plates. — San Francisco: Alan Wofsy Fine Arts, 2004 [LIB-1581.2018]. Artist: Paul Gavarni [Sulpice Guillaume Chevalier] (French, 1804 – 1866) Provenance: Charles Bourlon de Rouvre (French, 1850 – 1924) and Paul Armand Marcel Gavault (French, 1866 – 1951).    
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  • Robert Ganzo. Du dancing ou le danseur sentimental / avec un frontispice et un bandeau originaux de Marcel Vertès. — Paris: Lemarget, 1930.

    Title-page: ROBERT GANZO | DU DANCING | OU | LE DANSEUR SENTIMENTAL | avec un Frontispice et un Bandeau originaux | de | MARCEL VERTES | {publisher’s device} | Editions LEMARGET | 43, rue Madame, PARIS (VIe) | 1930.|| Description: 20.7 x 14.9 cm, French flapped cream wrappers with black and green lettering similar to title, lettering to spine “DU DANCING”; [1-13] incl. leaf in wrapper, 1st blank leaf, h.t. / limitation, frontispiece, t.p. / copyright, dedication to Gaston Guillot / blank, 14-106 [4] colophon / blank, and one leaf in wrapper; frontispiece and first chapter headpiece lithography by Vertès, plus inset of the same. Collation: 4to; [1,2]4 3-134 143; total 55 leaves. Printing: June 10, 1930, by Presses Modernes in Reims. Edition: 15 copies on Japon Impérial numbered I-XV, 20 colies on Hollande Van Gelder numbered XVI-XXXV, 250 copies on Vélin de Rives numbered 1-250, 20 of which reserved for the bookstore of H. Champion, and 25 presentation copies numbered A-Z. This copy is № XVI. Contributors: Robert Ganzo (French, 1898 – 1995) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Gaston Guillot (French, 1889 – 1960) – dedicatee. Editions Lemarget (Paris) – publisher. Presses Modernes (Reims) – printer. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes
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  • Emilie Mediz-Pelikan. Pine Grove / Chromolithography, 1905.

    Colour (tone) lithography, image 268 x 410 mm, sheet 317 x 470 mm; signed on bottom-left of the image “Pelikan 1905”, and pencil ms inscription: E. Pelikan 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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  • Les Communeux de Paris – 1871 – Types, caractères, physionomies par Bertall; Gotschalck, Paris – Londres, 1871.

    Folio (240 x 320 mm), hardbound in blue-aubergine cloth with gilt lettering and decoration. Album with Avant-Propos and 34 hand-colored lithographs by Bertall, numbered 1 through 34. Details in Russian: "Памяти парижской коммуны".
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  • Environs of Paris from Weekly Dispatch Atlas. — London: Cassell, Petter, and Galpin, 1863.

    Four maps 34 x 47.5 cm each. Include insets of Versailles, Fontainebleau, Saint Cloud and St. Germain en Laye. Lithograph by Edward Weller after a map drawn and engraved by John Dower. "These maps originally appeared in the Weekly Dispatch newspaper from 1856 to 1862. They were reissued between 1863 and 1867 by Cassell, Petter and Galpin and then published collectively as Cassell's Atlas. The plates were acquired by G.W. Bacon & Co., and reissued in 1876 under the title Bacon's New Quarto Atlas ... of the Counties of England, and many times since under various titles." [WorldCat]

    Dimensions: 34 x 47.5 cm each.

    Contributors: Weller, Edward (British, 1819 – 1884) – lithographer. Dower, John Crane (British, 1791 – 1847) – artist, engraver. Dower, John James (British, 1825 – 1901) – artist, engraver (son of John Crane Dower).

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  • Album du Bon Bock. — Paris, 1884 / Privat edition by Émile Bellot.

    An album of the "Le Bon-Bock" dinners for the year 1884. Author, designer and publisher – Emile Bellot (French, 1831 – 1886), a Parisian artist and engraver. "Le Bon-Bock" was a monthly dinner of artists and men of letters, who gathered in Paris for good food, good company, and artistic performances, from 1875 to at least 1925. The story behind these gatherings as told by Emile Bellot, the founder, is this:
    In February 1875, Pierre Cottin1 came to me and said: 'I discovered a poet and tragedian of immense talent and who interprets the poems of the Great Victor Hugo in an astonishing way. Monsieur Gambini. I promised him that I would make it heard by an audience of artists and men of letters. I am counting on you who have many connections to keep my promise to him'. I gathered about 25 of my friends and acquaintances in a picnic dinner which took place at a restaurant 'Krauteimer' on the rue Rochechouart in Montmartre. They heard from Mr Gambini first, then my friends Étienne Carjat2, J. Gros3, Adrien Dézamy4, etc. performed. These gentlemen completed the evening so brilliantly that it was unanimously decided that we would start a similar dinner every month. Poets, musicians, men of letters, singers would be invited to this dinner. I was in charge of the organization of this little party and as it was the dream of my life to bring together old comrades, I was careful not to refuse and I pursued this good idea. Cottin and René Tener5 were kind enough to help me in this joyous task and especially my old friend Carjat. The following March began our 1st monthly dinner.
    The name "Le Bon-Bock" means "The Good Bock", whilst Bock is a kind of beer, a dark, malty, lightly hopped ale. The dinner was named "Le Bon-Bock" in honour of the Éduard Manet painting (1873), a famous portrait of Emile Bellot, called "Le Bon-Bock". The invitations to the dinner were also produced by the artists and looked like this one by Alexandre Ferdinandus (October 3, 1883). Ferdinandus (attrib.), 1870   Besides this sketch of the Parisian social and artistic life at the end of the 19th century, the provenance of the album in our collection generates additional interest. The ink stamp to the front flyleaf reads: "Docteur Henry Uzan, 29 Avenue Perrichont, Paris XVI". Doctor Henry Uzan was Jewish. He was arrested by the Pétain police on October 1, 1941, and interned in Drancy. With the few means at his disposal, he undertook to treat the sick whom he then saw leaving, week after week, towards their terrible destiny in the extermination camps. In October 1943 doctor Uzan was deported to the island of Alderney. After the Normandy Landing of June 6, 1944, Nazis evacuated the island detainees and transfer them to the Neuengamme camp, via northern France and Belgium. During the transfer, doctor Uzan managed to escape from the train on the night of September 3 to 4 around Dixmude in Flanders. He was taken in by the Belgian Resistance, which he joined before being repatriated to France. In France, he continued working as a physician and was one of the founders of Association des internés et déportés politiques (AIDP). In 1945, together with his friends, the doctor designed the symbol for the Fédération nationale des déportés et internés résistants et patriotes: The story behind the number on the emblem (178284) is fascinating but it is out of the scope of this material.
    1. Pierre Cottin (French, 1823 – c. 1887) – Engraver, mezzotinter, genre and landscape painter; born in Chappelle-Saint-Denis (near Paris), a pupil of Jazet. Exhibited at the Salon from 1845, also in London from 1876 to 1879.↩ 2. Étienne Carjat (French, 1828 – 1906) – Journalist, caricaturist and photographer. ↩ 3. Jean Baptiste Louis Gros (French, 1793 – 1870) – Painter. ↩ 4. Adrien Dézamy (French, 1844 – 1891) – Writer, poet, general secretary of the Théâtre des Bouffes in Paris. ↩ 5. Rene Tener (French, 1846 – 1925) – Painter. ↩ Sources: 

    Le chercheur indépendant

    Auguste Lepage. Les dîners artistiques et littéraires de Paris / Bibliothèque des Deux mondes (2e éd.) – Paris: Frinzine, Klein et Cie., 1884. [Accession № LIB-2606.2021 in this collection]

    Le matricule 178284, un emblème de solidarité.

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  • [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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  • Paul Morand. L’Europe Galante / Lithographes originales de Vertès (Le miroir des mœurs, №3). — Paris: Les arts et le livre, 1927.

    Front wrapper (in black and blue): PAUL MORAND | L'EUROPE | GALANTE | QUINZE LITHOGRAPHES | HORS TEXTE ORIGINALES | DE VERTÈS | {vignette} | LE MIROIR DES MŒURS | LES ARTS ET LE LIVRE | =| M. CM. XXVII || Title-page (in black and blue): PAUL MORAND | L'EUROPE | GALANTE | ORNÉ DE QUINZE | LITHOGRAPHES ORIGINALES | PAR VERTÈS | {vignette} | LE MIROIR DES MŒURS | LES ARTS ET LE LIVRE | 17 Rue Froidevaux (XIVe) | =| M. CM. XXVII || Pagination: [1-9] 10-245 [7], and 2 leaves under the wrappers, ils. Collation: 8vo; [1]8 2-168; first and last leaves under wrappers; total 128 leaves and 17 plates extraneous to collation (two more than the declared 15). Binding: 20.5 x 14.5, French flapped tan wrappers with lettering and vignette, lettering to spine. Printed on May 30, 1927 at l'Imprimerie du Livre, Rueil (Henri Filipacchi, director); under supervision of Georges-Célestin Crès. Edition: 3rd book is the series "Le miroir des mœurs", limited to 1165 copies of which 65 on Papier d'Annam, 15 of them not for sale, numbered 1-50 and 51-65, respectively; 1100 copies on Vélin teinté de Rives (100 of them not for sale), numbered 66-1065 and 1066-1165, respectively. This copy is № 474. Contributors: Paul Morand (French, 1888 – 1976) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Les arts et le livre; Georges-Célestin Crès (French, 1875 – 1935) – publisher. l'Imprimerie du Livre (Rueil); Henri Élie Michel Filipacchi [Flippaki] (French, 1900 – 1961) – printer. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes
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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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  • The Communists of Paris 1871. Types, Physiognomies, Characters by Bertall. Popular English Edition, Buckingham and Co., 1873.

    Folio (246 x 321 mm), hardbound in red-brown cloth with gilt lettering and decoration. Content, Introduction by J. E., September, 1873, Artist preface by Bertall, Paris, 1871-1873. Album with 40 hand-colored lithographs by Bertall, numbered 1 through 40, accompanied with extensive descriptions. Ex Libris: Baker. Carpe Diem. Markings: Janny M. Baker with J.L.B. Love, 19 March, 1878 in black ink.
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  • Plan of Paris, & the surrounding communes from Weekly Dispatch Atlas. — London: Cassell, Petter, and Galpin, 1863.

    PLAN OF PARIS & THE SURROUNDING COMMUNES | SHEWING THE FORTIFICATIONS & ALL MODERN IMPROVEMENTS. || Lettered above the image with title, and below with production detail: "Day & Son, Lithrs to the Queen"; and production detail above: "Drawn & Engraved by B.R. Davies: / 16 George Str Euston Squ London", and on top right: "Weekly Dispatch Atlas, 138 Fleet Str". Dimensions: 47.5 x 65.4 cm. Contributors: Day & Son; William Day (British, 1797 – 1845) – lithographer, printer. Davies, Benjamin Rees (British, 1789 – 1872) – artist, engraver.

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  • Venetian Album: 12 lithographs by Lessore after Wyld. — Venice: Charles Hopfner, 1834; (2) Veduta della casa di Loreto: 5 etchings by Filippo Jaffei. – Loreto: Jaffei, 1828; 2 more etchings.

    Owner's convolute binding of the period in quarter tan cloth, yellow marbled boards, no title page, no pagination. Contents: (1) Venetian Album –12 lithographs by Émile-Aubert Lessore (French, 1805 – 1876) after William Wyld (British, 1806 – 1889). — Venice: Charles Hopfner, [1834]. Printed at Premiata Litografia Veneta under the direction of  Ferdinand Wolfgang Flachenecker (German, 1782 – 1847). Inscription: Premiata Litografia Veneta, dirigée par C. Flachenecker.
    1. L'Église de St. Marc
    2. La place St. Marc
    3. Le palais Ducal
    4. Le Môle
    5. L'Arsenal
    6. La Riva dei Schiavoni
    7. Le Grand Canal, (1re vue)
    8. Le Grand Canal (2me vue)
    9. Le Grand Canal (3me vue)
    10. Le Grand Canal (4me vue)
    11. Le Grand Canal (5me vue)
    12. Le Grand Canal (6me vue)
    (2) Veduta della casa di Loreto – 5 etchings by Filippo Jaffei, – Loreto: Jaffei, 1828.
    1. Title: Spiegazione / delli quattro prospetti dei bassi rilievi in marmo che circondano le mura della S. Casa di Loreto / qui annessi in puntata, oltre l'altro prospetto del palazzo pontificio / facciata del tempio, campanile, e cuppola etc.
    2. Prospetto della Basilica, e Piazza Lauretana, ed annesso Palazzo Apostolico / V. Jaffei incise.
    3. Settentrione. Prospetto laterale de Bassirilievi in Marmo, che circondano le Mura di S. Casa di Loreto. Jaffei incise Loreto.
    4. Oriente. Prospetto de Bassirilievi in Marmo, che circ=ondano le Mura di S. Casa.  Jaffei incise Loreto l'Anno 1828.
    5. Mezzo Giorno. Prospetto laterale de Bassirilievi in Marmo, che circondano le Mura di S. Casa di Loreto. Jaffei dis. ed inc. in Loreto.
    6. Occidente. Prospetto de Bassirilievi in Marmo, che circ=ondano le Mura di S. Casa. Jaffei dis. ed inc. in Loreto l'Anno 1828.
    (3) Line engraving signed F. Ferrat (...). (4) View of Cloaca Maxima in Rome etched by Tommaso Cuccioni (Italian, 1790 – 1864), negoziante. Possibly from the album Num. cento vedute di Roma e sue vicinanze. Presso Tommaso Cuccioni, negoziante di stampe in Roma, Via della Croce n. 25. Inscription: Cloaca Maxima. Si vende in Roma da Tommaso Cuccioni Neg.e di Stampe Via della Croce № 25.
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  • 30 et quelques… attitudes. Lithographies originales de Jean de l’Étang. — s.l.: s.n., 1952.

    Title-page: 30 | et quelques… | attitudes. | {vignette} | LITHOGRAPHIES | ORIGINALES DE | JEAN DE L’ÉTANG || Colophon: ACHEVÉ | D’IMPRIMER | EN | M C MLII || Description: Cream French flapped wrappers enforced with cardboard, in a double slipcase, 30.2 x 24 x 4.5 cm, with a lithograph to front and back depicting the female crotch, front and back, respectively. Printed on wove paper watermarked ‘Johannot’ (produced by Arches, France). Unbound; margins untrimmed. Collation: 2 leaves on the front and 2 on the back with two within the wrappers, incl. colophon, 2 leaves: one blank and one t.p. / limitation, 12 loose gatherings of 4 leaves each (48) with glassine interleaving. Pagination: [1-8] 9-102 [2], total 104 pp (leaves in wrappers not counted). Illustrated with 25 full-page lithographs (incl. covers) and 29 smaller images. Artist’s name Jean de l’Étang is most probably a pseudonym attributed by both J.-P. Dutel and Gérard Nordmann to Jean Dulac (French, 1902 – 1968). Limitation: A print run of 200 copies, of which this is copy № 186 (Nordmann's collection had №184). Cat. raisonné: Dutel III №2511, p. 388; Nordmann II №181, p. 89; Honesterotica.
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