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ART
REFERENCE 
AND
Real Rarities]
[
]
Literati of Antwerp Salute One of Their Own — Portrait after Peter Paul Rubens
Asterius,
Episcopus Amasenus. S. Asteri Episcopi amaseae homiliae
Graecè & Latinè nunc primùm editae Philippo Rubenio
interprete. Antverpiae: Ex Officina Plantiniana, apud viduam & filios Ioannis
Moreti, 1615. 4to (24.13 cm, 9.5"). [6] ff., 284, pp., [2] ff.
Click the images for enlargements. 
The volume was published at the request of Cardinal Ascanius Columnas in an edition of
only 750 copies, and was printed at Antwerp at the press of Moretus’ widow and sons with the famous Plantin device appearing in two versions (engraved, to the title, and woodcut, to the final recto).
A full-page engraved funeral portrait of Rubens engraved by Cornelius Galle
after Peter Paul Rubens signals the beginning of the third section, in which Jan Brant records the life of his son-in-law’s brother and transcribes his epitaph. Even Balthasar Moretus contributes an epigram in honor of the deceased.
In the fourth section, Rubens’ own orations and selected letters appear, i.a. his funeral oration to Philip II of Spain. Josse DeRycke contributed the final funerary tribute.
Done up in fully elegant Plantin–Moretus style, the volume has in addition to its careful typography and full-page plate and devices been lavished throughout with two-line block initials and four-line historiated woodcut initials; also, it offers several intricate woodcut tailpieces.
Searches of NUC Pre-1956 and WorldCat locate only eight copies in U.S. institutions, one of which has been deaccessioned; most are
not in obvious places.
• Graesse, I, 241; Corpus Rubenianum, XXI (1977), 152. Period-style full brown calf, covers framed in blind double fillets, spine with gilt-stamped red leather title-label, raised bands with blind tooling extending onto covers. With a few odd spots to the text only, this is a
remarkably fine, crisp copy. All edges green. (28878)
Limited to
303 Copies Babbott, Frank Lusk. The collection of...[,] 1854–1933. New York, 1934. 4to. Unpaginated.
• Ex-library with blind pressure- and rubber-stamps, properly deaccessioned. (1681)
Milkmaids, Bathing Beauties, Muses, Etc. Bamlach, Christian. Pudelnakerd erotische Szenen aus der Gründerzeit. Dortmund: Harenberg, © 1981. 12mo (17.5 cm, 6.9"). 155, [5] pp.; illus.
Click the image for an enlargement. • Publisher's yellow bookcloth wrappers, front wrapper with affixed photographic label. Very clean and crisp. (30630)
Just a Bit HEAVY for Taking with You to
“the New Barnes” . . .Barnes, Albert C. The art in painting. New York: Harcourt, Brace & Co., © 1937. 8vo (23.6 cm, 9.25"). xx, 522 pp.; illus.
Click the images for enlargements. • Publisher's cloth in original dust jacket; jacket with spine sunned, spine and extremities chipped. Ex–social club library: Front pastedown with bookplate and evidence that jacket was once taped down, dedication page with inked numeral in lower margin, spine with inked shelving number. Title-page with inked private ownership inscription dated 1942. 
Laid in, an amusing newspaper snippet. Outer edges (closed) with small area of staining; otherwise, internally clean and nice.
(33133)
With an Early Engraving of the Virgin of GuadalupeBartolache [y Diaz de Posada], Jose Ignacio. Manifiesto satisfactorio anunciado en la Gazeta de Mexico (Tom. I nm. 53) Opusculo guadalupano. Mexico: Imp. por D. Felipe de Ziga y Ontiveros, 1790. 4to. [7] ff., 105, [1 (blank)], 16 pp., [6] ff., 3 plts.
Click the images for enlargements. 
In all, Bartolache details and discusses 19 books and pamphlets. Additionally, this volume contains an excellent engraving of the Virgin, designed by Jose Guerrero and engraved by Tomas Suria. The last text pages discuss this image of the Virgin as a physical object, as a piece of art: the structure supporting her, the proportions of the face and body, the “paint,” and so on. The final six leaves contain a list of subscribers, which is rather unusual in Mexican books, and there are two other, unsigned, related engravings.
• Medina, Mexico, 7957; Grajales & Burrus, Bibliografia guadalupana, 273; Palau 25095; Maggs, Bibl. Amer., I, 1141, and VI, 5899; Beristain, I, 141; Puttick & Simpson, Bibliotheca Mejicana, 167; Sutro, p. 33. Contemporary acid-stained sheep (Valenciana style) with gilt spine, marbled endpapers and all edges red; fore-edge of rear cover gnawed upon by a rodent, but not too seriously. A clean, attractive copy of a book both widely and deeply interesting. (36633)
Detailed — DETAILED!
Bergström, Ingvar. Dutch still-life painting in the seventeenth century. New York: Thomas Yoseloff Inc., 1956. 8vo. xix, [1], 330 pp.; illus.
• Publisher's blue cloth, spine with gilt- and blue-stamped title; without dust jacket, spine slightly sunned, a clean, solid copy. (24835)
“Large Scale” in Several Respects . . .
A Classic of English Antiquarianism, Illustration, Brayley,
Edward Wedlake. The history and antiquities
of the abbey church of St. Peter, Westminster: Including notices and biographical
memoirs of the abbots and deans of that foundation. London: J.P. Neale for Longman,
Hurst, Rees, Orme, & Brown, 1818–23. Folio (37.9 cm, 14.9"). 2 vols.
I: [18], 227, [19], 72, [10] pp.; 13 plts. II: [2], 304, [40] pp.; 49 plts.
Click any image where the hand appears on 
Provenance: Each front pastedown with armorial bookplate of William Arthur, sixth Duke of Portland.
• NSTC 2B46491; Allibone 240; Brunet, II, 1215. Binding as above, minor shelf wear to lower edges and corners, vol. I with front board expertly reattached and with small dent to outer edge of front cover. Joints delicate, due to size and weight of volumes, but holding. A few pages and plates with faint foxing, otherwise clean. (24100)
(Cassatt, Mary). Hale, Nancy. Mary Cassatt. Garden City: Doubleday & Co., 1975.
$15.00
With BOTH the Author's & the Subject'sSignaturesCecil, Richard. Memoirs of
John Bacon, esq. R.A. with reflections drawn from a review of his moral and religious character. London: Pr. for F. & C. Rivington by R. Noble, 1801. 8vo (17.5 cm, 6.9"). Frontis., iv, 118, [2 (1 adv.)] pp.
Click the images for enlargements. 
Provenance: This copy is inscribed by the author on a front fly-leaf: “Mrs. Bacon wth the author's affect. respects.” In addition, athree-page autograph letter signed by Bacon is tipped in; the letter pertains to Bacon family heraldic and heritage matters and includes mention of a deposition. The front pastedown bears the pictorial bookplate and small ticket of Robert Heysham Sayre of Bethlehem, PA.
• NSTC C1166. 19th-century half brown morocco with marbled paper–covered sides, spine with gilt-stamped title and blind-tooled trefoil decorations in compartments; joints refurbished, spine bands and extremities slightly worn. Pages age-toned; six leaves browned from an old stain and a few more with small marginal areas browned; frontispiece and title-page with spots of foxing. Manuscript letter with outer edges creased, some creases partially slit, one small strip detached along an edge fold and laid in. An attractive copy of an interesting text with excellent and interesting additional material. (33598)
(Ceramics).
Litchfield, Frederick. Pottery and porcelain: A guide to collectors.
New York: M. Barrows and Company, [1950]. Folio. Illus.
$40.00
• Publisher's cloth. Very good condition, no dust jacket.
$17.50 (6472)
$7.50 (6473)
Capturing an AgeOne Biography at a Time [Clarke]. The Georgian era: Memoirs of the most eminent persons, who have flourished in Great Britain, from the accession of George the First to the demise of George the Fourth. London: Vizetelly, Branston, & Co., 1832–34. 8vo (19.5 cm, 7.65"). 4 vols. I: Frontis., 582 pp.; 12 plts. II: Frontis., [2], 588 pp. III: Frontis., [2], 588 pp. IV: Frontis., 588 pp.
Click the images for enlargements. artists and musicians, etc.
All the expectable princesses, duchesses, and countesses are present, along
with a handful of women represented in other categories — the preponderance
falling under the “Vocal Performers” and “Actors” headings.
The first volume is illustrated with
12
plates each offering four rows
of small portraits, some intriguingly expressive; each volume opens with an
engraved frontispiece portrait of a royal George.
• NSTC 2C23867. Recent textured maroon cloth, spines with
gilt-stamped black leather title and volume labels; title-pages institutionally
pressure- (not rubber-) stamped. Scattered light spots of staining,
pages generally clean; first few leaves of voI. \ II with outer margins chipped.
A
hefty, substantive evocation of Georgian life and times. (30012)
REACTIONARY!
Craven, Thomas. Modern art: The men, the movements, the meaning. New York: Simon and Schuster, 1934. 8vo. Frontis., xxii, 378 pp.; illus.
• Publisher's cloth, stamped in gilt and red on the spine and on the front. Light wear to edges, corners, and over joints; spine darkened. A very good copy.
“STUMPED & the KITTENS Are Everywhere” — One of 26 Special
Copies
Davidson, Michael. Two views of pears. Berkeley, CA:
Sand Dollar, 1973. 8vo (20.1 cm, 7.9"). [10] ff.
Click the images for enlargements. art
history. The title-page is lettered in sky blue and black, with a small blue sand dollar ornament.
376 copies comprise this limited edition printed by Wesley Tanner at the
Sand Dollar Press,
including26 on Wookey Hole paper and signed by the poet, of which this is number 14.
Michael Davidson (b. 1944) was the first curator of the Mandeville Special Collections Library at the University of California, San Diego, where he has taught American Literature since 1988.
• Stitched in orange paper wrappers with matching orange paper jacket, title and author printed in light brown surrounded by black ornamental frame on front cover. Fine, in a mylar slipcase. (30796)
Hague & Gill Bibliography — “Observing Eric Gill's Centenary” Davis, James. Printed by Hague and Gill a checklist prepared in conjunction with the exhibit A Responsible Workman observing Eric Gill's centenary. [Los Angeles]: Regents of the University of California, © 1982. 8vo. [2], 48, [2] pp.; illus.
Click the images for enlargement. • Publisher's plain paper wrappers. Clean and fresh. (29721)
Art — Artists — Wit — Allegory — Prose — Poetry Doni, Anton Francesco. La zvcca del Doni, Fiorentino. Divisa in cinqve libri di gran valore ... In Venetia: Appresso F. Rampazetto, ad instantia di G.B. & M., Sessa fratelli, 1565. 8vo (15.5 cm, 6.25"). [8], 316 ff.
Click the images for enlargements.
many observations on the life and works of such artists as Giovanni Angelo (1507–63) and Vasari.
A full-page woodcut portrait of author is found on the verso of leaf *8, along with the printer's woodcut device on the title-page and woodcut headpieces and initials throughout the text.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
• Grässe, II, p. 424; Marsili-Libelli, Anton Francesco Doni,; 57; Edit16 CNCE 17710; Gamba 1367 (note). . . Early 20th-century vellum over light boards, ruled and tooled and lettered in gilt; marbled endpapers. Possible ownership name in one margin (not deciphered). Light waterstaining in some upper and lower margins, with occasional limited effect to text; overall in facta good and attractive copy. (40658)
The Art of the Printed Book
Duncan, Harry. Doors of perception: essays in book typography. Austin, TX: W. Thomas Taylor, 1983. 8vo (23.2 cm, 9.2"). [2], 99, [3] pp.
Click the images for enlargements. signed at the colophon by the author.
• Binding as above, inoriginal terra-cotta paper–covered slipcase; leather very gently sunned, slipcase with lower edge rubbed and each side with a small unobtrusive spot/mark or two to paper, otherwise clean. Informative and attractive. (30560)
An Artist's View of theEarly Development of American Art Dunlap, William. History of the rise and progress of the arts of design in the United States. New York: George P. Scott & Co., 1834. 8vo (24.6 cm, 9.7"). 2 vols. I: 435, [1] pp.; 1 facs. II: viii, 480 pp.
Click the images for enlargements. • On Dunlap, see: Oxford Companion to the Theatre, 211. American Imprints 24237; BAL 5026; Howes D571; Sabin 21303. Publisher's quarter green diced cloth and tan paper–covered sides, spines with gilt-stamped title; edges and extremities rubbed, corners bumped, spines sunned, sides with spots of staining and discoloration. Front hinges (inside) tender. Ex–social club library: spines with paper shelving labels, front pastedowns with 19th-century bookplates and inked shelving numbers, title-pages and one other in each volume rubber-stamped, no other markings. Some outer corners of vol. II lightly waterstained; a very few instances of small spots of staining. (27558)
For POST-1820 AMERICANA, click here.
“To Toiling Millions, Whose Means are Small, Yet WhoseDesires are Great to Possess a Home . . .”Dwyer, Charles P. Economic cottage builder: or, Cottages for men of small means. Buffalo: Wanzer, McKim & Co., 1856. 8vo (23.3 cm, 9.125"). [2], 127, [1] pp.; 32 plts.
Click the images for enlargements.architectural handbook for building one's own cottage on a humble budget. Charles P. Dwyer (ca. 1815 – ca. 1880), an architect and writer, emigrated to North America from Ireland and had moved to Buffalo, NY, by 1847. He subsequently began to publish architectural advice books for people with limited advantages among other works.
32 black-and-white plates (including an added lithographed title-page), 23 of which represent Dwyer's cottages, the other eight being plans for their designs. The lithographs are by Compton, of Buffalo.
Binding: Publisher's brown cloth with gilt lettering and foliate decoration to spine; deep blind-stamped triple-ruled and foliate border on front board framing stylized gilt title and cottage centerpiece; rear board identical to front board but with centerpiece in blind. Saffron endpapers.
Provenance: On front free endpaper, 20th-century signature of “Wm. B. Goodwin, M.I.T.” A rubber-stamp from the Lowell Historical Society appears on the front pastedown and on the top and bottom edge.
• Hitchcock, American architectural books . . . portfolios, and pamphlets . . . published in America before 1895, 389. Bound as above; rubbing to extremities, small tears at spine head, minor coppery discoloration to gilt on front board. Provenance stamp and signature as above; age-toned edges and minor to moderate foxing throughout interior. Sound and unassuming and more than respectable, much like its target audience. (38084)
Celebrating the Sun King, in Thread — & in Stunning Engravings[Félibien, André]; Johanna Sibylla Küsel Krauss & Johann Ulrich Krauss, engr. Tapisseries du roy, ou sont representez les quatre elemens et les quatre saisons. Avec les devises qui les accompagnent et leur explication. Königliche französische Tapezereyen. Augsburg: Johann Ulrich Krauss (pr. by Jacob Koppmayer), 1687. Folio (31.8 cm, 12.52"). [8], 129, [13] pp.; 8 double plts., illus. (2 illus. ff. lacking).
Click the images for enlargements.
the Gobelins Manufactory. In addition to the added copper-engraved main title-page here, there is a special engraved sectional title for each main set. Each design (Fire, Air, Water, Earth; Spring, Summer, Autumn, Winter) has its own section featuring a double-page spread with accompanying letterpress description in both French and German, followed by individual close-ups of the emblems from the borders (done from miniature paintings by Jacques Bailly), each with a brief prose explanation followed by verse in both languages. The prose was written by Félibien, secretary to the French Royal Academy, while many of the poems were written by Charles Perrault with others by François Charpentier, Jean Chapelin, and Jacques Cassagnes; the German throughout is printed in blackletter, the French prose in roman, and the French verse in italic. The text is not only illustrated as above but decorated with a number of engraved initials and headpieces, as well as woodcut tailpieces.
Johanna Sibylla Küsel supplied and signed four of the eight dramatic double-page copperplates depicting the tapestries in their entirety and she was almost certainly chiefly responsible for many additional pieces. Frau Krauss (1650–1717), daughter of engraver Melchior Küsel, was an accomplished artist, engraver, and printmaker in her own right.
• VD17 23:288787R; Landwehr, French, Italian, Spanish, & Portuguese Books of Devices & Emblems, 287; Henkel & Schöne, Emblemata: Handbuch Zur Sinnbildkunst des 16. und 17. Jahrhunderts, 300; Adams, Bibliography of French Emblem Books of the 16th & 17th Centuries, F.247; Faber du Faur 1846. Contemporary vellum with later silk ties; vellum lightly worn and spotted, spine head with traces of early, hand-inked shelfmark. Light waterstaining to upper outer portions of roughly the first third of the volume; minor spots of staining scattered throughout. Some inner margins unobtrusively repaired or reinforced; two small spots of pinhole worming running through most of volume with six instances (touching some images) repaired; engraved “Devises” title-page with short closed tear. Lacking two plates from the Autumn section (XXVI & XXVII): Despite this, and the minor faults described, a copydeserving of admiration. (40766)
ALL the ACTUAL PRINTER'S BLOCKS for the *47* Illustrations The Beginnings of San FranciscoFrancis, Walter, illus., et al. For Eldredge's The beginnings of San Francisco, the 47 California-themed printing blocks used to produce the volume’s illustrations. San Francisco: Pr. John C. Rankin Company (New York), 1912. 37 half-tone plates (on copper), 10 zinc cuts, all on their wood blocks; plus 3 additional plates on copper and another zinc cut, similarly mounted.
Click the images for enlargements. 
wrappers showing the images printed from them, as would have been convenient for the printers — these marked (as the backs of the blocks themselves sometimes are) identifying the images and/or showing that the work was completed. (The additional blocks are unwrapped and unmarked.)
In sum, thiscomplete array of the blocks used for printing a substantial and well-regarded Titanic-era book looks like something that was put on a printing house shelf one afternoon in 1912 at the end of an ordinary project for the pressmen and simply stayed there. Seeing it on its present PRB&M shelf, coherent and unmessed-with more than 100 years later, is like walking up to that shelf through one of time's “wrinkles.”
• On the Beginnings, see: Cowan & Cowan, Bibliography of the History of California, 193. For a list of all its images and notes on their origins, see: http://www.sfgenealogy.com/sf/history/hbbegidx.htm. The paper wrappers present are variously just fine or age-toned or browned, chipped, torn along folds. ALL the blocks are in good condition; this is not a sort of thing easily damaged! (29741)
GiltMOSAIC Binding [Gavard,
Charles]. Souvenir d'une promenade a Versailles. Paris: au
Bureau des Galeries Historiques de Versailles, [ca. 1850–55]. Folio (36.5
cm; 14.5"). [6] ff., 50 leaves of plates.
Click the images for enlargements. 
Binding: In the style of a percaline mosaïquée, but the gilt and mosaic are applied to a textured pebbled cloth. Spine gilt extra with added “mosaic” of green, white, red and blue. Front cover with a blind-stamped border incorporating elegant corner-pieces; within this, “Souvenir de Versailles” gilt-stamped in an arc above a large on-laid crowned coat of arms flanked by banners and flags, this embellished in gilt with rich use of blue, white, red, blue, and green. Rear cover with similar blind-stamped border and a different large gilt-stamped center device strikingly incorporating an on-lay of blue stamped in gilt with a military medal. All edges gilt.
• On this type of binding, see: Morris & Levin, The Art of Publishers' Bookbindings, pp. 94–97. Binding as above, rubbed to the underlying boards at the corners of the boards and top of spine slightly pulled with one bit of rubbing. Scattered pale brown stains mostly on interleaves and sometimes visible on versos of plates; some discoloration in some margins of plates and occasionally into one; overwhelmingly a clean copy, remarkably bright and unfoxed. A strong and nice example of this category of “souvenir” and of a gilt mosaic binding. (30464)
For BOOKS IN FRENCH, click here.
Frescoes
forWestminster
PalaceGreat Britain. Commissioners on the Fine Arts. Report of the Commissioners on the Fine Arts, with appendices; and a critical introduction. By command of Her Majesty. London: James Gilbert, 1842. 8vo (20 cm, 7.875" ). x, 37, [1] pp. 
Rare: We trace no U.S. copies of this work via NUC Pre-1956, OCLC, or RLIN, nor is it in NSTC
• Removed from a nonce volume. Lightly age-toned with a little light staining. (11192)
How Much Were theTownley Marbles Worth?Great Britain. Parliament. House of Commons. Report from the committee to whom the petition of the trustees of the British Museum, respecting the late Mr. Townley’s collection of ancient sculptured marbles, was referred. [London, 1805]. Folio (32.5 cm, 12.75"). 8 pp. 
Click the image for an enlargement. RLIN and OCLC report only one holding of this item in the U.S.
• Not in NSTC. Removed from a nonce volume, now in a Mylar folder; title-page and final blank lightly dust-soiled. Sewing mostly gone. Title-page with short tear from inner margin, not touching text; some leaves with small edge chips. (17274)
ForENGLISH POLITICS, click here.
A QUITELuxurious & Useful Production Jacquemart, Albert. Histoire de la céramique. Paris: Librairie Hachette, 1873. 4to (26.5 cm, 10.43"). [2] ff., 750, [2] pp. 12 pls.
Click the images for enlargements. 
200 wood-engraved figures by Hercule Catenacci and Jules Jacquemart, bears12 full-page engraved plates by the latter, and tells how to identify many works' makers, cataloguing1,000 marks and monograms. Each full-page plate is protected by a guard sheet with a brief letterpress description. 
The monograph's originalcolor-painted beaux-arts wrappers are bound in at the front and back here, including the spine in front (rubbed and faded, hinting at original splendor). The title-page is printed in red and black. An extensive index appears at the end.
Binding: Three-quarter evergreen morocco bordered with gilt fillets over bubble gum and mint marbled paper boards; spine with raised bands, gilt-framed compartments containing author, title, date, and appropriate devices in gilt; endpapers matching marbled boards and top edge gilt.
• For J. Jacquemart, see: The Nineteenth Century, Vol. IX, pp. 681–90. Leather lightly scuffed at extremities and sunned to a woody green on spine and upper front cover; offsetting from turn-ins onto endpapers. Mild to (occasionally) moderate foxing throughout and old water damage on a few leaves only. (30132)
One Year's Worth ofWell-Spent Half Hours Knight, Charles. Half-hours with the best authors.
[London: Charles Knight, 1847–48]. 8vo (22.8 cm, 9"). 4 vols. in 2. I: Frontis., engr. t.-p., [2],
312 pp., frontis., engr. t.-p., [2], 312 pp. II: Frontis., engr. t.-p., [iii]–iv, 312 pp., frontis., engr. t.-p., [iii]–iv, 316 pp.
Click the images for enlargements.art and literary criticism, biography, and fiction, set forth in 52 weekly issues meant to be consumed in half-hour portions, with each weekly number containing seven half-hours. (Indices and quarterly title-pages are bound in here.)
Knight, who was devoted to books and to literature from the time he was a small child, was a much-admired printer and publisher, as well as an author, reformer, and would-be educator: Many of his publishing endeavors were aimed at improving and enlightening the working class.
• NSTC 2K7731. On Knight, see: Oxford Dictionary of National Biography online. On binding cloth, see: Krupp, Bookcloth, style Wav3. Publisher's textured brown cloth, covers blind-stamped with muse motif and title, spines with gilt-stamped title and blind-stamped decorations; lightly worn overall with some fading, vol. II spine head with traces of a strip of cloth tape. Ex–social club library: 19th-century bookplate, call number on endpaper, pressure-stamp on title-page, no other markings. Paper slightly embrittled (more so in second volume), with a few short edge tears. Externally ordinary; internally worthwhile. (26860)
158 (Religious) Images fromTWO Fantastic DesignersKoch, Rudolf, & Fritz Kredel. Christian symbols. San Francisco: Arion Press, 1996. 4to (28.6 cm, 11.25"). [9], 158, [5] pp.; illus.
Click the images for enlargements.Arion Press for the first time. They were previously published as a folder of plates between 1932 and 1935; the reproductions here were reduced to ninety percent of the original. Koch intended for the book to be used as a reference for other artists and churches.
• Publisher's blue-green cloth, white spine label with blue lettering; one very faint scuff to front board. In original tan paper slipcase; light spot of sunning to one side. Interior is bright. A beautiful copy! (38304)
Kraus, H.P., bookseller, New York. Arts: Art, Architecture, Archaeology, Festivities, Music, Drama, Film. New York: H.P. Kraus, (19--). 4to.
$7.50
• Original wrappers. (6486)
Kraus, H.P., bookseller, New York. 19th Century Photographs, including Daguerrotypes, Civil War Photographs, Early American Views, Technology, French Portrait Photographs, etc. New York: H.P. Kraus, [1977]. 4to.
• Stapled in original wrappers. (6488)
Click here for a database including 
AUTHOR keyword, e.g. = KRAUS, H. P. NOTE SPACE between H. & P.
Ancient Dress. 51 Copper-Engraved Plates.Lens, André Corneille. Le costume ou essai sur les habillements et les usages de plusieurs peuples de l’antiquité, prouvé par les monuments. Liege: Aux dépens de l’auteur, chez J.F. Bassompierre, 1776. 4to (24.9 cm, 9.8"). xxxi, [1], 411, [1] pp.; 51 plts
Click the images for enlargements. 
For CLOTHING & FASHION, click here.
Lindsay, Jack. Turner: The man and his art.
London, Toronto, Sydney, New York: Granada Publishing Limited, 1985. 8vo. 179
pp.; illus.
$30.00
• Paperback. On both covers is a detail of the painting A First Rate Taking in Stores.
“The First Public Manifestation” of theLiverpool First Edition Club Signed by Eric GillLiverpool First Edition Club. Catalogue of the first exhibition by members of finely printed books from modern presses May 12–24, 1930 with a foreword by Eric Gill. Liverpool: The Basnett Gallery (pr. at the Fanfare Press), 1930. 8vo (21 cm, 8.25"). 31, [1] pp.
Click the images for enlargements. Provenance: Signed by Eric Gill (“Eric G”) at the end of his foreword; additionally, elegantly inscribed to rare book collector Clark Stillman by the artist's brother and biographer Evan R. Gill, dated 28 September 1937.
Searches of NUC and WorldCat located only three copies in U.S. libraries.
• Publisher's printed paper wrappers; wrappers detached, sunned, and chipped. Pages clean. (36969)
37 Examples ofCurwen Papers, Plus Notes & HistoryMcKitterick, David; Paul Nash. A new specimen book of Curwen pattern papers. Andoversford, Gloucestershire: Whittington Press, 1987. 8vo (27.5 cm, 10.8"). xii, 105, [3] pp.; 4 double-sided plts. (some col.), 32 color-printed samples. Portfolio: 5 fold. ff.
Click the images for enlargements.
one of just 85 copies bound by Smith Settle in quarter morocco and Curwen paper, with an accompanying portfolio containing five additional full sheets of pattern paper. The portfolio sheets were designed by Marx, Bawden, Lowinsky, and Friedlander, the latter contributing two patterns. The main volume was set in 12-point Monotype Lutetia (borrowed from the Libanus Press) and printed on Zerkall mould-made and Colorplan papers, with the plates and reprinted pattern papers done at the Senecio Press.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
• Quarter dark blue morocco and vividly color-printed paper–covered sides with gilt-stamped title on spine, portfolio in matching paper, both housed in publisher's plain slipcase; portfolio spine and corners showing minor wear, main volume bright and fresh. Top edge gilt. One portfolio sample leaf with two short tears from one edge, papers otherwise in beautiful, crisp condition, as are the text pages of the main volume. A special copy in lovely condition. (39552)
MODERN LIBRARY
“LEONARDO” Merejkowski, Dmitri. The romance of Leonardo da Vinci. Translated from the original Russian of Dmitri Merejkowski by Bernard Guilbert Guerney. New York: The Modern Library, 1928. 12mo. xii, 635 pp.
• Publisher's limp boards, stamped in gilt. Spine a little sunned. Last few pages unopened. Near fine copy. (6441)
Michener onJapanese Woodblocks Michener,
James A. Japanese prints from the early
masters to the modern. Rutland, VT & Tokyo, Japan: Charles E. Tuttle Co.,
(copyright 1959). Folio (31.7 cm, 12.5"). 287, [1] pp.; plts., 6 fold.
• Publisher's textured taupe silk binding, front cover with patterned coral silk insert; spine with gilt-stamped title. Dust wrapper and original slipcase present, lower back corner of jacket slightly crumpled; otherwise a gorgeous, clean copy in an undamaged slipcase. (24683)
A Famous Designer's TRAVELOGUE ofHis TRIP TO CHINA in 1984Miho, Jim. Kromekote opens up a whole new world. [New York?, Cincinnati?]: Champion International Corp., [1985]. 32mo (near miniature: 10 cm; 3.9375"). [48] ff.
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handsome, well-chosen color photograph opposite on each facing leaf's recto.
Colophon reads: “Design [by] Miho. Printing [by] Hennegan Co. Cincinatti [sic]. Paper: Cover, Kromekot 15 cover/.010 Text, Kromekote enamel / 90 lb. Box, Kromekote Lith / 60 lb. Colorcast boxwrap, red on red.”
The near-miniature travelogue book is contained in a larger box measuring 19 x 19 x 2 cm (7.375" x 7,375" x .75").
WorldCat locates fewer than ten reported copies worldwide.
• Book in fine condition, box very good. A fascinating, evocative little production. (36984)
Limited Edition of 80 Copies, with anOriginal Water ColorNancy, Jean-Luc. Le regard du portrait. [Paris]: Galilée, (2000). 8vo (21.5 cm; 8.5"). 90, [1], [1 (blank)] pp., [1], [2 (ads)], [1 (blank)], [1(colophon)] ff., [8] pp. of color illus., [1] tipped-in watercolor.
Click the images for enlargements. This is number 21 of the 70 numbered, with the water color being a version of the frontispiece on heavy artists' paper and signed by the artist with his initials.
• Original wrappers with a glassine dust jacket; front wrapper and title-page with publisher's “scribble” device above imprint as seen on other titles from this press. Very good. (35646)
For BOOKS IN FRENCH, click here. For ILLUSTRATED BOOKS, click here. For PHILOSOPHY, click here. For COLLECTED PRESSES
FALLS fromVermont to Hawaii Pfahl, John. Waterfall. Tucson, AZ: Nazraeli Press, [2000]. Oblong 8vo (12 cm, 4.75"). [36] pp., [1 (laid-in)] f.; illus.
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How to Paint, According toOne of the Great French CriticsPiles, Roger de. Cours de peinture par principes. Amsterdam & Leipzig: Arkstee & Merkus; Paris: Chez les Freres Estienne, 1767. 12mo (17.1 cm, 6.75"). Frontis., [8], 389, [11] pp.; 2 plts.
Click the images for enlargements.this updated edition, here in its second printing following the first of the previous year (that 1766 issue having been part of a five-volume Oeuvres diverses of de Piles; the date and the booksellers' information have been reset on the title-page here). The text is illustrated with the engraved allegorical frontispiece and two plates, one of which is signed by Charles de Rochefort, from the 1708 Jacques Estienne edition. At the back of the volume is de Pile's original — and still controversial — “objective” numerical breakdown of the talents of 56 famous painters, assigning points in four categories (composition, drawing, color, and expression).
WorldCat locatesonly three U.S. institutions reporting holdings of this 1767 printing, and just a handful of the 1766.
• Contemporary mottled sheep, spine with gilt-stamped title and pomegranate decorations in compartments; joints and extremities rubbed, with back joint starting from foot. All edges stained red. Pages with a very few scattered small spots or smudges, overall clean. (40294)
Two Seasonal Spectacles at the Theatre RoyalSPECIAL EFFECTS 1829Playbill. Broadside. Begins: Theatre Royal, Drury Lane. This evening, Monday, December 28, 1829, His Majesty's Servants will act the tragedy of King Richard III. [London]: Pr. by J. Tabby, [1829]. Folio (34.5 cm, 13.5"). [2] ff.
Click the image for an enlargement. “a Splendid Comic Christmas Pantomime” called Jack in the Box; or, Harlequin and the Princess of the Hidden Island. The latter includes a descriptive list of the scenes as painted by Clarkson Stanfield (“The Giant's Dining Parlour,” “Lime-Kilns, near Gravesend,” “Cheesemonger's Shop and Wine Vaults,” etc.).
The second sheet is for Stanfield's “Grand Local Diorama,” the grand finale of which involved the “magnificent display of the Falls of the Virginia Waters, seen through the Fairy Temple of Luminaria” — facilitated by a hydraulic apparatus capable of discharging 39 tons of water, “forming a coup d'oeil never before witnessed on any stage.”
A contemporary of Stanfield's once called him “the prince of scene-painters,” and his dioramas were legendary for their beauty and immersive effects.
• Split halfway up center fold and neatly repaired from rear; one untrimmed outer edge slightly ragged. Gently age-toned. Delightful (and very displayable) piece of theatrical ephemera. (36575)
Pro Helvetia Foundation. Swiss drawings: Masterpieces
of five centuries. Organized by the Pro Helvetia Foundation. Introduction and
notes by Walter Hugelshofer. Circulated by the Smithsonian Institution. 1967–1968.
Washington, D.C.: Smithsonian Institution Press, 1967. 8vo. 176 pp.; illus.
$22.00
• Paperback. Gift inscription on front endpaper. Fine.
On Paintings in Rome & Italian Painters — CORRECTEDPrunetti, Michelangelo. Saggio pittorico ed analisi delle pitture più famose esistenti in Roma con il compendio delle vite de’più eccellenti pittori ec. ec. Edizione seconda corretta ed aggresciuta. Roma: Nella Stamperia Salvioni, si vende nella Libreria di Giambatista Petrucci, 1818. 12mo (20 cm, 7.9"). xii, 296 pp.
Click the interior images for enlargements. • Original paper wrappers, spine with hand-lettered paper label. Early inked owner’s inscription on front free endpaper; one early inked shouldernote. Some pages with faint hint of foxing, most clean. A very good copy. (14402)
For BOOKS IN ITALIAN, click here.
French Translation of the N.T. withExegesis of TextRohault de Fleury, Charles. L'évangile études iconographiques et archéologiques. Tours: Alfred Mame et Fils, 1874. Folio (33 cm, 13"). 2 vols. I: Frontis., [8], vii, [1], 287 pp.; 53 plts. II: Frontis., [4], 320 pp.; 46 plts.
Click the interior images for enlargements. the
iconography of Jesus in Late Roman and Medieval art, from
the 3rd to the 12th century. Each chapter (165 in all) covers a particular scene
in the life of Jesus, and the text begins with a Catholic translation in French
of the relevant passages from the Gospels of Matthew, Mark, Luke, and John.
The text is accompanied by illustrations, copious interpretive notes of the
iconography and critical commentary, both exegetical and archaeological. Officially
endorsed by the Roman Catholic Church, the preliminary leaves including an “approbation”
by the Archbishop of Tours and a letter from the Archbishop of Paris.
The book is illustrated with 100 engraved plates and numerous in-text engravings, as well as a frontispiece map of the Holy Land in each volume. The plates are mostly figural illustrations taken from paintings in catacombs and on sarcophagi, illuminated manuscripts, mosaics, ivory figurines, murals, etc. The title-pages are printed in black and red ink, and decorated with an engraved vignette.
• Publisher's red cloth, stamped in gilt on the spines and front covers. Spines sunned and front cover of vol. II slightly sunned along fore-edge also; cloth of spines frayed at extremities and chipped in other places. Hinges (inside) of vol. I a little weak, stitching exposed; corners bumped with cloth damage; pages very shallowly bumped. Ex-library, with shelf labels on spines, institutional bookplates on front pastedowns, pressure-stamp to title-pages and one other page in each volume. Paper very good; pages clean and bright. (24688)
Censoring “Satanic” ArtRosignoli, Carlo Gregorio [Charles Grégoire]. La pittura in giudicio, overo il bene delle oneste pitture, e’l male delle oscene. Opera di Carlo Gregorio Rosignoli della compagnia di Giesu. Milan: Nella Stampa di Giuseppe Malatesta, 1697. 12mo (14.8 cm; 5.75"). [11] ff., 316 pp. Lacks engr. frontis. 
Click the images for enlargement. demonic and Satanic influence as an explanation for the odious, secular imagery to be found in certain paintings, and praises the beneficial effects of the Virgin Mary’s inspiration. He also advocates exercising stricter ecclesiastical control over the arts, and demands that “obscene” paintings be destroyed.
This early edition of Rosignoli’s work, first published in Bologna in 1696, is decorated with floriated capitals, headpieces, and tailpieces, with an engraved frontispiece lacking in this copy. The volume opens with a dedication to Don Teobaldo Maria Visconti and closes with a thorough index.
• Sommervogel, VII 154. Contemporary stiff vellum, spine with title inked in early hand; engraved frontispiece lacking and text block separating from spine from base upwards (with sewing visible). Light discolorations to many pages, inked jottings to front and back pastedowns. A scarce edition of a scarce text. (36670)
For “Workmen & Laborers” & Including Ruskin'sAttack on Whistler Ruskin, John. Fors clavigera. Letters to the workmen and labourers of Great Britain. New York: Greenwood Press, 1968. 8vo (21.8 cm, 8.6"). 4 vols. I: 430 pp. II: 459, [1] pp. III: 425, [1] pp. IV: 412 pp.
Click the images for enlargements. • Publisher's teal cloth, spines with gilt-stamped title; spines with gilt slightly dimmed and minor extremity wear, front cover of vol. II with a small light smudge. A solid and pleasant set, with its pages very crisp and clean. (33164)
“My dearest John,” “My dear Girl,” “My dearest Boy,” “My dear Father” . . .Ruskin, John James; Van Akin Burd, ed. The Ruskin family letters. Ithaca & London: Cornell University Press, © 1973. 8vo. 2 vols. I: Frontis., lviii, 417, [1] pp. II: Frontis., [418]–792, [2] pp.
Click the images for enlargements. • Publisher's red cloth, spines gilt-stamped, in matching slipcase; volume spines sunned, slipcase showing minimal shelfwear. Overall very clean and crisp. (33160)
Inscribed by the ArtistSaroyan, William, & Barbara Ebersole. Fletcher Martin. Gainesville, FL: University of Florida Press, 1954. 4to (28.7 cm, 11.3"). xvii, [1], 51, [1] pp.; illus.
Click the images for enlargements. Provenance: Inscribed “To Judy and Ron with best wishes Fletcher Martin 1966" on the half-title and with an impression of that inscription transferred to title-page because of the nature of the book's paper.
• Publisher's brick-colored cloth, front
cover and spine stamped in black, in original dust jacket; jacket sunned and a little soiled with
light staining to edges, short tear to each upper edge, and small chips at spine extremities;
volume with minimal shelfwear outside and, inside, a touch of generally very faint waterstaining
to lower margin across and a short ways up the gutter. Solid, and signed.
(35904)
He Was a Member ofSor JUANA's CircleSigüenza y Góngora, Carlos de. Parayso occidental plantado y cultivado por la liberal benefica mano de los muy catholicos y poderosos reyes de España, nuestros señores, en su magnifico Real Convento de Jesus Maria de Mexico. Mexico: Juan Ribera, 1684. Small 4to. [12], 206 ff., coat of arms.
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a basic starting place for the study of nuns, the economics of nunneries, and the political life of the same.
As is increasingly the case with Mexican imprints of the 17th century, it islittle found in the marketplace.
Provenance: 18th-century ownership signature on title-page and first leaf of preliminaries of the Conde del Fresno de la Fuente.
• Medina, Mexico, 1328; Palau 312973; Asuncion Lavrin, “Cotidianidad y espiritualidad en la vida conventual novohispana: Siglo XVII,” in Memoria del Coloquio Internacional Sor Juana Ines de la Cruz y pensamiento novohispano (1995). Late 19th-century Mexican quarter dark green morocco with mottled green paper sides; binding rubbed and abraded, front endpapers with an old paper label and remnants of one removed. Pencilling on front fly-leaf and title-page verso; top margins closely cropped occasionally costing top of letters of running heads and foliation. Worming, chiefly in margins but occasionally into the text, not costing words, sometimes repaired; first and last few leaves with old repairs to corners and margins and a bit of text restored in pen and ink. Withal, a good++ copy of important work that is not often on the market. (34203)
Works of a Master Engraver — With Signed PrintStone, Reynolds. Reynolds Stone engravings. London: John Murray (pr. at the Curwen Press), [1977]. 8vo (29.1 cm, 11.5"). xli, [3], 151, [3] pp.; col. illus.
Click the images for enlargements.Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
• Publisher's blue cloth, spine with gilt-stamped title, in a striking slipcase covered in combed paper in black, grey, and white, matching the endpapers; volume spine sunned, slipcase showing minimal shelfwear. Pages crisp and clean. A beautiful book for collectors of calligraphic and/or bookplate art as well as connoisseurs of wood engraving. (39551)
An Art Collector's Estate Suárez de Toledo, Juan. Collection of documents in Spanish on paper relating to his death and estate. Talavera: 1669–79. Folio, 100 ff.
Click the images for enlargements. • Written by several notaries so hands are varied. Stitching starting to loosen. A very few leaves with small loss of text to a hungry rodent. (27598)
For MANUSCRIPTS, click here.
A Beloved Victorian Author on anEqually Beloved Victorian IllustratorThackeray, William Makepeace; W.E. Church, ed.; George Cruikshank, illus. On the genius of George Cruikshank ... reprinted verbatim from “The Westminster Review.” Edited with a prefatory note on Thackeray as an artist and art-critic. London: George Redway, 1884. 8vo (22.5 cm, 8.875"). Frontis., [6], xvi, 60, [2 (adv.)] pp.; 1 plt.
Click the images for enlargements.more than 40 woodcut illustrations, this printing includes a “new portrait” of Cruikshank, etched by F.W. Pailthorpe.
Binding: 19th-century half red morocco and marbled paper–covered sides, leather edges ruled in gilt double fillets, spine with raised bands, gilt-stamped title, and gilt-stamped floral compartment decorations. Signed binding: front free endpaper stamped by Root & Son.
Provenance: From the library of Robert L. Sadoff, M.D., sans indicia.
• NCBEL, III, 856. Binding as above, joints and extremities rubbed. Pages mildly age-toned; two leaves with very small chips from outer margins; two pages with one small spot of staining each. A very nice copy of a work of both literary and artistic interest. (39846)
A Big Book Documenting a Big Era Trevor-Roper, Hugh, ed. The age of expansion: Europe and the world 1559–1660. New York: McGraw-Hill Book Co., © 1968. Folio. 360 pp.; col. illus.
The volume is extensively illustrated in color and black-and-white; this is a work of art reference as well as historical reference.
• Publisher's terra-cotta cloth, front cover and spine with gilt-stamped title, corners bumped yet cloth pristine, in dust-jacket; wrapper with wear at corners and spine extremities, one short edge tear to upper front edge. Pages age-toned; clean and unmarked. (26183)
One of 50 Special Copies — Wood Engravings byRuzickaUpdike, Daniel Berkeley, & Rudolph Ruzicka. D.B.U. and R.R.: selected extracts from correspondence between Daniel Berkeley Updike and Rudolph Ruzicka, 1908–1941. New York: American Printing History Association, 1998. Small 4to (27.3 cm; 10.75"). vi, 181, [8] pp.
Click the images for enlargements. three wood engravings by Rudolph Ruzicka printed by the Merrymount Press in addition to the many reproductions prepared for this volume. The correspondence was edited by Elizabeth French Lathem and Edward Connery Lathem, and the text and illustration together well exemplify the collaboration between two giants of the Book Arts during the first half of the 20th century.
The wood engravings are absolutely stunning.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
• Quarter blue cloth with gray paper spine label over lovely marbled paper; issued without a dust jacket.A bright and clean copy. (37600)
Art/Architecture — Folio Extra — Imposing! Valentini, Agostino. La patriarcale basilica Liberiana. Roma: a spese
di Agostino Valentini, 1839. Folio extra (47.5 cm; 18.75"). [4] ff., 118 pp.; 1 fold. plt., 102 plts.
Click the images for enlargements. 
A handsomely produced, still very impressive volume. (11659)
For ARCHITECTURE, click here.
(Walker, John). Walker, John. Self-portrait with donors: Confessions of an art collector. Boston: Little, Brown, 1974.
$12.50
For other BIOGRAPHIES (not all of art-world figures) — click here.
Waugh! The Pre-Raphaelites! Waugh, Evelyn. PRB An essay on the Pre-Raphaelite Brotherhood 1847–54. Westerham, Kent: Dalrymple Press, 1982. 4to (25.2 cm, 9.9"). 44, [3] pp.
Click the images for enlargements. This is the first published edition of Waugh's essay, which was first printed privately by Alastair Graham in 1926. As Christopher Sykes and Christopher Wood describe it in the preface and postscript, respectively, Waugh's account of the Pre-Raphaelite Brotherhood is not very scholarly (for one, Waugh makes biased remarks about William Holman Hunt, who married not one but two of his relatives, the sisters Fanny and Edith Waugh); however it is regarded as the first serious bit of writing by one of the greatest novelists of the 20th century. A commission followed to write the biography of Dante Gabriel Rossetti, Waugh's first full-length book.
The text was designed by Robert Hamilton Dalrymple using Monophoto Modern Extended 7 and printed on Zerkall mould-made paper at the Westerham Press, illustrated withsix plates reproducing portraits drawn by Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais, of each other. The binding, in navy blue cloth with the title stamped in red on the front cover and spine, and matching red endpapers, was designed by Hunter & Foulis of Edinburgh. Of an edition limited to 475 copies, this is number 118, written in manuscript below the colophon.
• Binding as above, in protective mylar wrappers. Short marginal tear to bottom of one leaf, elselike new. (30683)
Berhardt Wall's Works:Weber, Francis J. Following Bernhardt Wall 1872–1956. Austin, TX: The Book Club of Texas, 1994. Folio (29.9 cm, 11.75"). [2], 63, [1] pp.; 5 col. plts., col. illus.
Click the images for enlargements. expanded full-sized presentation designed and typeset by Castle Press and printed by Patrick Reagh Printers, limited to 195 copies (this example unnumbered). Like the first edition, this one is illustrated with mounted intaglio reproductions by Anthony Kroll — but this one additionally features a number of examples of Wall's work printed from the original plates, five colored photogravure reproductions of etchings by Wall, and oneoriginal postcard (with writing on the reverse).
A beautiful tribute to an important American illustrator. (37130)
Haters Gonna Hate: Whistler vs. the Critics — The Unauthorized First EditionWhistler, James McNeill. The gentle art of making enemies: Edited by Sheridan Ford. New York [i.e., Antwerp]: “Frederick Stokes & Brother”, 1890. 12mo (17.4 cm, 6.9"). [8], xi–xvii, [2], 21–256, [6 (2 adv.)] pp.
Click the images for enlargements. 
more Wilde correspondence as well as record of the final bitter spat between Ford and Whistler — and it gives only Ford's name on the cover, spine, and title-page, with no mention of Whistler himself until he appears in the preliminary note.
While Ford used the Stokes name on this Antwerp printing (and again later in the same year on a Parisian printing to which he resorted after Whistler's representatives successfully halted the Belgian production and confiscated most of the existing copies), Stokes denied having been involved in any way.
Provenance: Inked inscription of noted educator and book collector Jahu Dewitt Miller on final blank page.
• For the story of Ford's pirated edition, see: E.R. & J. Pennell's Life of Whistler, 1908, V. II chap. 34, pp. 100–13. Publisher's heavy gray paper wrappers, front wrapper with title stamped in red; spine creased and sunned, corners rubbed, rear wrapper very unobtrusively reinforced. Now housed in a violet cloth–covered chemise and a quarter deep purple morocco and violet cloth–covered slip case, with outer box edge and case spine and front cover sunned, case showing light shelfwear overall. Front two fly-leaves with short tear from upper margin; a very few instances of light spotting, generally not occurring within text. With laid-in auction catalogue information regarding publication and textual details; final blank page with inked inscription as above. Now very uncommon. (36545)
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