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Click here to subscribePaul GAUGUIN. Le Sourire. Introduction et notes par L.-J. Bouge. Paris, Maisonneuve et Max Besson, 1952. In-folio, en feuilles, sous couverture illustrée., Fac-similé du journal rédigé, illustré et autographié par Gauguin à Tahiti en 1899-1900, qui fut tiré à environ 30 exemplaires. Il a été complété par 5 reproductions de bois gravés pour la revue., Tirage à 1000 exemplaires sur Marais.
Alexandre IACOVLEFF. Dessins et peintures d`Afrique, Exécutés au cours de l`Expédition Citroën Centre Afrique, Deuxième mission G.-M. Haardt, L. Audouin-Dubreuil. Paris, Vogel, Meynial, 1927. In-folio, texte explicatif en demi-daim avec plats de soie noire peinte et une suite de planches en feuilles, chemise à rabats en filali de Marrakech avec liens de cuir exécutée par Félix., Nombreux dessins autour et en surimpression du texte et 49 planches en couleurs de Alexandre Iacovleff, numérotées de 1 à 50., Tirage à 1020 exemplaires, celui-ci un des 1000 sur Madagascar Lafuma pour le texte et sur vélin pur chiffon Lafuma pour les planches., Piqûres à la première planche et à la chemise.
Alexandre IACOVLEFF. Dessins et peintures d`Asie, Exécutés au cours de l`Expédition Citroën Centre-Asie. Troisième mission G.-M. Haardt, L. Audouin-Dubreuil. Paris, Vogel, Meynial, 1934. In-folio, texte explicatif broché à la chinoise et une suite de planches en feuilles, chemise à rabats., Nombreux dessins autour et en surimpression du texte et 50 planches en couleurs de Alexandre Iacovleff., Tirage à 720 exemplaires, celui-ci un des 700 sur Madagascar Lafuma pour le texte et sur vélin pur chiffon Lafuma pour les planches., Charnières et cordons de la chemise un peu abîmés, décharges du cordon et tranches piquées.
Alexandre IACOVLEFF. Les Dessins et peintures d`Extrême-Orient. Paris, Vogel, 1922. In?folio, texte explicatif de Victor Goloubev broché à la chinoise et une suite de planches en feuilles, chemise à rabats en vélin de l`éditeur avec fermeture à la chinoise., 48 planches en couleurs de Iacovleff (numérotées de 1 à 50), certaines tirées en héliogravure par Doistau ou en trichromies par Ruckert et 5 illustrations dans le texte., Tirage à 150 exemplaires imprimés sur Chine pour le texte et sur papier de Hollande pour les planches., Manque les fermoirs et emboîtage taché, 6 des feuillets à la chinoise coupés sur le côté latéral avec manques angulaires à 2 feuillets, quelques rousseurs.
André SUARÈS. Paris. Paris, Creuzevault, 1949-1950. In-folio, en feuilles, chemise., ÉDITION ORIGINALE illustrée de 38 burins de Albert Decaris, dont la couverture, 27 à pleine page et 10 têtes-de-chapitre., Tirage à 250 exemplaires sur vergé de Montval, celui-ci enrichi d`une suite de 18 burins dont plusieurs répétés., Manque l`étui, quelques rousseurs à la suite.
Harry Edward Busby, British 1919-1984- Untitled abstract composition; oil on paper, 27.5x35cm: together with a quantity of drawings in pencil, pastel, pen and ink, watercolour, and gouache by the same hand, many botanical subjects, various sizes, (a lot) (in one folio) (may be subject to Droit de Suite)
Bhagvata Purana 10th Book, Rajasthan, SS 1774/1852 AD Manuscript on paper, and in total 220 folios, most with text of black Sanskrit, most leaves with illustrations in gouache heightened with gold, folio 221 with colophon with title and date 1774, each folio approx. 2.8" x 12.2" — 7 x 31 cm. Provenance: Private Collection, Toronto Note: Previously offered at Christie’s London ‘Islamic Art and Indian Miniatures’ April 28, 1998, lot 7 Starting Price: $2000
René CHAR : Le Marteau sans Maître. Illustré par Joan Miro. Paris, Le Vent d’Arles. 1976 In-folio (438 x 335 mm). 23 eaux-fortes et aquatintes en couleur de Joan Miro, protégées par des serpentes, non signées, dont 8 sur double page. (180 pages), les feuillets blancs et les gravures comptent dans la pagination. En feuilles, couvertures rempliées, chemise, et emboîtage de l`éditeur exécuté par B. Duval. (Quelques décharges sur les feuillets de texte). Le tirage se compose de 175 exemplaires mis dans le commerce ( dont 50 exemplaires numérotés en chiffres romains accompagnés d’une suite et de trois planches inédites et 125 exemplaires numérotés en chiffres arabes), de 25 exemplaires hors-commerce, et de 15 exemplaires dit de Chapelle, réservés aux collaborateurs. Tout le tirage est sur vergé d’Arches. Un des 15 exemplaires de Chapelle, signé à la justification par René Char et JoanMiro, et enrichi d’un bel envoi de René Char sur le fauxtitre : "Pour Bruneaud Zissman / Celui qui emporte l`évidence sur ses épaules / garde le souvenir des vagues dans les entrepôts de sel. / avec ma sympathie / René Char". Ces 23 eaux-fortes et aquatintes deMiro appartiennent aux meilleures illustrations de l’artiste. Elles sont ici d’un très beau tirage. (Jacques Dupin et Ariane Lelong-Mainaud, « Miro engraver », IV (1976-1983), n°944 à 966. "Monod,Manuel de l`Amateur de Livres IllustrésModernes”, n° 2623".
East India Company (United Company of Merchants Trading to the East Indies), a printed power of attorney dated 1801 for a quantity of East India Stock, folio format, black printing, 4 pages, on watermarked paper, together with a related handwritten letter from bankers Child & Co in London, slight splits at folds, very fine. (2) Vat Status: Margin Scheme View Terms & Conditions
Exchequer Receipt, 1724/5, in the sum of £750 in respect of an Order for £3000, dated March 1723, issued for His Majesty`s Secret Service, signed by Viscount Townsend, a manuscript document, folio, good condition without the usual trimming, very fine and an interesting subject. Viscount Towsend (1674-1738), Whig Statesman, Secretary of State . Vat Status: Margin Scheme View Terms & Conditions
x Stratford-Upon-Avon Canal Navigation (Company of Proprietors of the), £200 Annuity, 18[15], folio format with transfers attached by small metal clip, black printing, stamped in red `cancelled` at top and seal bears three punch holes, splits at edges, otherwise good fine. Vat Status: Import 5% View Terms & Conditions
HUNTER (Rev. Joseph) - South Yorkshire, The History and Topography of the Deanery of Doncaster in the Diocese and County of York, 2 vols. London J.B. Nicols & Son, 1828, folio, vol II with frontis portrait of the author, 2 hand coloured double sheet maps, black and white plates teg. full tan calf with conservative club crest
BOGOLIUBOV, ALEXEI(1824-1896)View of the Venetian Lagoon from the Public Gardens, signed.Oil on canvas, 71.5 by 120 cm.Executed in the 1870s. Provenance: Galerie Laurencie, Geneva. Acquired from the above by the Swiss diplomat Henri Coursier, c. 1975. Thence by descent to the previous owner. Private collection, Europe. Authenticity certificate from the expert V. Petrov.Alexei Bogoliubov visited Venice three times in the course of his long career – in the autumn of 1854, winter and spring of 1863 and, lastly, in the February of 1872. View of the Venetian Lagoon from the Public Gardens was in all probability painted from an impression left by this last visit. The image of this wonderful island city captured Bogoliubov’s imagination when still a student at the Imperial Academy of Arts, where he would copy engraved vedute and his teacher Maxim Vorobiev’s Venetian sketches. Nevertheless, arriving in Venice in October 1854 after a long journey through Europe, Bogoliubov was completely overwhelmed by his new surroundings. He was later to recall: “Dressing quickly, I ran out into the narrow street, weaved left and right managing to emerge, more by luck than judgement, on St Mark’s Square,where I stood at length gaping in astonishment. I wandered around the square for about an hour looking now at the piazzetta, now the entrance to the Palazzo Ducale, then the cathedral doors, stopping over nothing... Thus, on the first day, I bowled along like a hoop, scooting from one view to another. The warm Venetian evening came and a full moon floated up as though by design; night fell like a curtain and suddenly Venice appealed even more. The black gondolas striped silver across the surface of the Grand Canal and lagoon. Everything seemed covered in a fine, pale-bluish gauze. I jumped into a public gondola and was taken to Custom House. There I sat for a long while on the marble steps, only setting off to dine at 10 in the evening... My first sketch was the waterfront — with the Doge’s palace in the foreground. It was difficult — very difficult — not only to paint but to sketch the details of this intricate building. Nowadays, I would restrict myself to sketching the perspective and dimensions of the building and take the details from a photograph. But in those days photography had only just replaced daguerreotype and the best local photographer was selling views at a hundred francs per copy and more, which was completely beyond my means. This is why I used my pen to chisel out every column, capital and cornice on the palaces and the buildings, doing the drawings in folio, which in no small way taught me how to make loose, natural drawings of architecture, for which I had always had a passion. There are 400 examples of these drawings which can be seen the Academy of Arts. Then I made studies of the church with the canal, and travelled to the Lido to paint the sea. I painted several views of Venice from the public gardens. I worked tirelessly for two months”. These recollections record with surprising accuracy Bogoliubov’s favourite views of Venice. One of the artist’s favourite viewpoints was of the lagoon seen from the public gardens, of which this landscape is a variation. The perspective has been altered somewhat to allow him to capture the magnificent panorama, from San Giorgio Maggiore and the church of Santa Maria Salute to the Schiavoni embankment. The warm lilac-grey, blue and gold tints of this canvas recreate the feel of a calm Italian morning and involuntarily convey that rapture with which Russian landscapists from Sylvester Shchedrin to Ivan Aivazovsky handled their depictions of Venice."
SKETCH-BOOK. "Views taken in different parts of England." signed L. Wynne. 30 well finished detailed watercolours, each described on the blank reverse opposite; Stonehenge, two Teignmouth, Chudleigh, Haytor Rocks, three Tamar, Fowey, Polperrow, Malpas, Mount's Bay, Wells, Dunster, four Ilfracombe, Linmouth, Clovelly, Biddiford, Barnstaple, two Warwick Castle, Keddleston House, Robin Hood Stones Derbyshire, Newbath Matlock, Near Matlock, Matlock Bath, Blenheim House. Also page pencil sketches trees, orig calf-backed marble bds, oblong folio 9 x 13ins vg condition (one date noted "Sheldon - opposite Teignmouth, Bellona privateer sank Sept, 1779). (See front cover illustration)
SKETCH-BOOK. Interesting and Important Sketchbook. "Views taken in Ireland. Many of which are published by Mr Sandby in his Vertuosi's Museum." signed L. Wynne. 30 views, some well finished watercolours of an Irish Tour. "Dublin fr. Phoenix park, the Royal Hospital Ec.", "Trim castle, engraved by P. Sandby.", "L. Belvideres.", "Views of Drogheda...", "Cascade Powercourt.", "Glendaloch.", "Inniscorthy.", "Dunbroady Abbey...P. Sandby.", "Dunbroady Abbey...Ross river.", "The Passage over Waterford harbour...", "Carrick-beg...P. Sandby.", "Kinsale.", "The Fort at Kinsale fr Gen Folliots summer house.", "Cataract...Bantry.", Ross Castle on ye Lake of Killarny...P. Sandby.", Lake Killarney fr Mucrap.", Eagle's nest Killarney.", "Lake Killarney.", "Cascade...Killarney.", "Dunlow castle - Killarney.", "O'Sullivan's Cascade, Killarney.", "Addair Castle.", "Abbey at Addair.", "Archbishop's Palace, Cashel.", "Cathedral and Rock of Cashel.", "St. John's bridge, Kilkenny,", "Castle at Kilkenny - Entrance.", "Kildare Abbey.", "Fall of ye Liffy...". (2 of 30 views in this album are:- "Bridgenorth-Shropshire, 1774. Mr Sandby has made a large print of this drawing."; and "Bildemas or Bildas Abbey, Shropshire..." orig calf-backed marble bds, oblong folio 9 x 13ins, vg condition. (See illustration)
SKETCH-BOOK. Derbyshire and North Wales. 25 large mostly pencil and wash sketches, five Dovedale, seven nr Matlock, four Castleton Rhaidr Criglaeth, two Pistil Rhaidr, Pont y pair, Castle Doluidellan, Conway Castle, Llyn Badern Snowdon, Llyn Berris, plus one unnamed, orig 1/2 calf. 10 x 14ins, oblong folio. (See illustration)
PRYCE (WILLIAM). "Mineralogie Cornubiensis; a Treaties on Minerals, Mines and Mining...Idioms of Miners." engr portrait, ded, preface, subscribers, plt leaf, contents, and 331 pp complete, seven engr folding plts, plus chart comp, cont 1/2 cf, label, folio for author, 1778 vg, early printing E.W.W. Pendarves copy.
MANOR OF TRESLOTHAN. "Field Book Containing Plans of the Several Estates within the Manor of Treslothan in the Parishes of Camborne, Crowan and Illogan in the County of Cornwall.". The Property of Edward W. Stackhouse Esq., 1806. Album containing tipped-in col pen and ink maps and lists of tenants, all mounted on 23 large linen-backed sheets, mod cl-backed bds, large ob atlas folio vg.
Surtees, R.S. (Handley Cross) "Ask Mama or the Richest Commoner in England", Bradbury and Evans, 1858, coloured frontis, vignette on title page, various coloured plates and other illustrations throughout, some foxing, marbled boards, half leather, gilt titles in raised bands to spine, inscription on ffep, dated "May 1858", in uniform with "Mr Facey Romford's Hounds", Bradbury and Evans, 1865, coloured frontis, illustrated title page, various coloured plates, some foxing, both books illustrated by John Leech together with Talland, G.H. "The Sporting Adventures of Mr Popple", John Lane, The Bodleyhead, full colour-plates and text oblong folio, pictorial boards, a bit worn and a little staining (3)
Burnet, Bishop "Bishop Burnet's History of his own Time, from the Restoration of King Charles II...", printed for Thomas Ward in the Inner Temple 1724, various colour vignettes and chapter headers, table of contents, some water damage, contemporary suede binding, front board detached and worn, folio
Album of Revolutionary Russia. [New York]: Russian Socialist Federation, [1919]. Oblong folio album, 48 pages, each with reproductions of black and photos of people and incidents central to the Soviet Revolution, beginning with portraits of Lenin and Trotsky, continuing with hundreds of other evocative images including battles, protests, crowd scenes, and many others; binding worn with scratches, lacking the original tie, 10 3/4 x 14 in.
Barker, Nicolas Aldus Manutius and the Development of Greek Script & Type in the Fifteenth Century. Sandy Hook, Connecticut: Chiswick Book Shop, 1985. Folio, first edition, with original leaves from the first Aldine editions of Aristotle, 1497; Crastonus`s Dictionarium Graecum, 1497; Euripides, 1503; and the Septuagint, 1518, in the original publisher`s binding and matching slipcase, prospectus and original receipt inserted. [and] ten titles in bibliography and the history of printing, including D.B. Updike`s Printing Types, and eight others. (11).
Biblia Latina, with the Glossa Ordinaria of pseudo-Walafrid Strabo. [Strasbourg: Adolf Rusch for Anton Koberger at Nuremberg, not after 1480]. First printed edition of the Latin Bible with the Glossa Ordinaria, or commentary, bound in four imperial folio volumes; 1,210 of 1,211 leaves, lacking only the penultimate blank, the other two blanks present; two gold-illuminated initials: one at the beginning of Genesis, the other at the beginning of the Psalms, all other initials supplied in alternating red and blue contemporary lombardic initials, larger initials enhanced with yellow tracery embellishments inside and around the letters, red and blue capital strokes and paragraph marks throughout, some contemporary notes, the set presented to an unnamed convent by Johannes Schreier in 1482, with the original notes to that effected inside the back board of each volume, and another similar notice on the front board of each volume; bound in uniform contemporary German alum-tawed pigskin bindings over wooden boards, tooled in blind; later hardware added; front boards detached, some worming, some discoloration to text pages, generally a large, fresh copy, with contemporary manuscript annotations (at times trimmed away) to help the binder assemble the pages, which would have been challenging because of the confusing signature marks used by the printer in this work; contemporary printer`s waste and text manuscript leaves used as pastedowns in all four volumes; ex libris the Franciscan Library of Ingoldstadt, with inscriptions; page size: 19 x 13 in.; bindings: 20 x 13 1/2 x 4 in.; the four together occupy 18 inches of shelf space; collation available upon request. (4).
Boethius (480-524) De Consolatione Philosophiae. Nuremburg: Koberger, 1483. Folio, 71 of 74 leaves, lacking the initial blank and the two final blanks (i9 and i10), initials added in a contemporary hand in red and blue, period annotations in the text throughout, in a later binding, cloth spine, paste paper boards; some water staining, toning, and thumbing to leaves, margins still good, manuscript notes largely intact, 11 7/8 x 8 1/2 in.
Cartier-Bresson, Henri (1908-2004) The Decisive Moment. New York and Paris: Simon & Schuster and Verve, [1952]. First edition, folio, illustrated, in the original publisher`s boards illustrated by Matisse, spine damaged and fragmentary, 14 1/2 x 10 1/4 in. [and] The Europeans, New York and Paris: Simon & Schuster and Verve, [1955], first edition, folio, illustrated, in the original publisher`s boards illustrated by Miró, joints damaged, spine starting, 14 1/2 x 10 1/4 in. (2).
Cartier-Bresson, Henri (1908-2004) The Decisive Moment. New York and Paris: Simon & Schuster and Verve, [1952]. First edition, folio, illustrated, in the original publisher`s boards illustrated by Matisse, in a protective plastic jacket, the pamphlet with the captions inserted, boards slightly bowed, foxing to front board, text block has shifted downward slightly within the boards, 14 1/2 x 10 1/4 in.
Catherwood, Frederick (1799-1854) Views of Ancient Monuments in Central America, Chiapas, and Yucatan. London: by Owen Jones for Catherwood, 1844. Folio, illustrated with chromolithographic and gilt-printed title page, one map, and twenty-four of the twenty-five hand-colored lithographic plates, lacking plate seventeen: Interior of the Principal Building at Kabah; title page spotted, plates with some minor edge dust and corner chips, occasional spotting, with the original boards, both detached, spine detached and fragmentary, with loss of leather, 21 1/2 x 14 1/2 in.
Chagall, Marc (1887-1985) Illustrations for the Bible. New York: Harcourt, Brace & Co., [Printed in France, 1956]. Folio, illustrated publisher`s boards, spine becoming detached, boards and spine with marginal tape and tape residue, illustrated with sixteen color lithographs, and 105 of black and white illustrations; in Mylar wraps; contents fresh, 14 1/4 x 10 1/2 in. .
Classics, Continental Imprints, 17th and 18th Centuries, Six Volumes: Johannes van Meurs`s Glossarium Graeco-Barbarum, Leiden: Elzevir, 1614, large quarto, title printed in red and black, portrait of the author on verso of title, later parchment binding; Maggio`s Syntamaton Linguarum Orientalium Liber Primus [et Secundus], Rome, 1670, folio, half parchment and paper boards, blind library stamp to title, boards worn and abraded; Matthias Martini`s Lexicon Philologicum, Praecipue Etymologicum et Sacrum, Utrecht: Schouten, 1697, two folio volumes, contemporary blind-tooled Dutch parchment over stiff boards, title to volume one printed in red, with added engraved title; and Hesychii Lexicon, Leiden: Luchtmans, 1766, two folio volumes. (6).
Classics, Greek, 18th Century, Twelve Volumes: Suidae Lexicon, Graece & Latine, Cambridge: Typis Academicis, 1705, in three folio volumes, all boards detached, clean interiors; Justini Philosophi & Martyris Apologiae Duae et Dialogus cum Tryphone Judeaeo, London: Sare, 1722, folio, contemporary boards, detached; Temple Stanyan`s The Grecian History from the Original of Greece, to the Death of Philip of Macedon, London: J. and R. Tonson, 1766, two octavo volumes, illustrated, contemporary boards, front boards detached; and Septuaginta Interpretum, Oxford: ex Theatro Sheldoniano, 1707, six octavo volumes, illustrated, edited by Johannes Grabe, in contemporary English calfskin, bindings scuffed but intact. (12).
Commines, Philippe de (1447-1511) The Historie. London: [Eliot`s Court Press] for John Bill, 1614. Small folio, third English edition, title printed within elaborate woodcut compartment, 366 pages, with the genealogical tables, lacking the final ?blank Ii4; in 17th century boards, rebacked, recornered, those repairs now failing, stains and damage to some text leaves, later endleaves 11 1/4 x 7 1/2 in.
Dante Alighieri (1265-1321) La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English. London: The Nonesuch Press, 1928. Folio, limited edition copy number 1077 of 1475, printed in parallel columns in English and Italian throughout, embellished with forty-two illustrations after Botticelli, bound in full bright orange parchment, tooled in gold, 12 x 8 in.
Donne, Alfred Francois (1801-1878) Cours de Microscopie Complementaire des Etudes Medicales. Paris: Bailliere, 1845. First edition, folio, illustrated with twenty plates comprising eight-six microdaguerreotype images taken by Leon Foucault, bound in the original publisher`s boards, scuffed, foxing to half-title and first plate. Cutting-edge daguerreotype technology was almost instantly pressed into the service of science. Every other scientific image reproduced in books up to this moment had been mediated by the artist`s hand and eye. Donne`s use of photographic technology facilitated a more objective view of the blood cells, crystals, sperm cells, and other subjects examined under the microscope. This work contains the first description of the microscopic appearance of leukemia, whose presence Donne linked with abnormal blood pathology.
Estinne, Henri (1528?-1598) Thesaurus Graecae Linguae. [Geneva]: Estienne, 1572. First edition, five folio volumes, text printed in Greek and Latin, woodcut device on first title page, this copy printed on the smaller paper, bound in modern half sheepskin and green buckram boards, contents with some minor defects, 8 1/4 x 12 7/8 in. (5).
Fine, Oronce (1494-1555) Extract from Geometriae Practicae. [from Protomathesis? Pages 50-99] Paris, 1530. Folio, with bookseller`s letter claiming that this copy belonged to the author; two contemporary inscriptions on the title, and some initials on the rear end leaf, illustrated with woodcuts throughout the text, water stain to top margin of the first ten leaves, contemporary sheepskin binding with some minor damage and old repairs.
Freher, Paul (1611-1682) Theatrum Virorum Eruditione Clarorum. Nuremberg: Hofmann & Knorz, 1688. First edition, folio, engraved title, frontispiece portrait, typographical title printed in red and black, complete, with eighty-two full-page engravings, each with sixteen individual portraits in a grid; two-thirds of plate 37 torn away, text complete with index; bound in full German parchment over boards, spine detached, parchment at front joint split, first few leaves detached, spotting to endleaves. This reference work includes biographies of more than 2,500 prominent contemporary catholic and protestant theologians, lawyers, judges, doctors, artists, architects, philosophers, royalty, and nobility. The index is especially helpful.
Genius: Zeitschrift für Werdende und Alte Kunst. Munich/Leipzig: Kurt Wolff, 1919 [-1921]. Three folio volumes, one for each year, each bound in half parchment, with the emblem of the publication, a deer jumping over a lotus flower and the letter G, stamped in gilt onto the front board of each volume, the sides covered in blue, green, and dark orange-colored paper, each volume more than 300 pages long, illustrated throughout with artists` prints, including some original lithographs and woodcuts tipped onto heavy paper, and others; binding problems in the 1919 volume, the vellum spine coming loose from the boards, each book is: 13 3/4 x 10 1/4 in. Genius championed the works of 20th century German Expressionists. Editors Hans Mardersteig and Carl Georg Heise sought to compare the latest trends in emerging German art to its significant historical predecessors. The literary section of the magazine published the work of Franz Kafka, Hermann Hesse, Maxim Gorky, and others. (3).
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