Mr. J. Pierpont Morgan.
Tall 8vo. xviii +195pp [1]; lxxiv +145pp. [1] pp. 158 skillfully produced chromolithograph plates; 52 full page diagrams. Large 8vo. 9½ x 6¼". Period full dark brown morocco, raised bands, moire silk doublures, matching morocco endpapers in first volume. Moire silk endpapers in second volume, top edges gilt. LIMITED TO 250 COPIES. Fine Italian watermarked paper in Volume One; Unidentified watermarked paper in Volume Two. A fine set. Historical text and notes by Stephen W. Bushnell, Thomas B. Clarke and William M. Laffan, as follows: By the beginning of the twentieth century, collections of Chinese ceramics were exhibited in New York's trendsetting Metropolitan Museum of Art. James A. Garland had loaned his collection of Chinese ceramics to the museum in 1895, a collection that Connoisseur Magazine regarded as the finest collection of old Chinese porcelain in the world. When Garland died in 1902 at the comparatively early age of 62, he had not made provisions for his collection to be given to the Metropolitan Museum, so it went up for sale to the dismay of many who hoped it would be kept in America. Duveen Brothers acted quickly and bought the intact Garland Collection from the executors of the estate. Henry Duveen explained that "the collection could hardly be duplicated at an outlay of four times what it cost." When it was announced that Duveen Brothers had purchased the collection, it was initially believed in England the purchaser would bring it to England. "A few days later came the news the Mr. J. Pierpont Morgan had bought the porcelains from their English purchaser and presented them [on loan] to the New York Metropolitan Museum of Art. --Most of the pieces are the Qianlong and Kangxi dynasties--, Quoted from pp. 167 through 172 in Michael St. Clair. The Great Chinese Art Transfer: How so Much of China's Art Came to America. The Royal Collection Trust, Great Britain holds a copy.
Shadbolt, Jack.
Signed boldly, lower left and dated "60." Measures 23 x 32" within the original frame, which measures 34 x 26". Fi0ne condition. A dramatic example of Shadbolt's experimentation with abstract expressionism. Provenance: Acquired by Sheila Rabinovitch, an acquaintance of Shadbolt's, in the 1960s. Rabinovitch (1914 - 2012) was a freelance broadcaster and art consultant. She collected the works of many major Canadian artists, including Shadbolt, Toni Onley, Harold Town, and Takao Tanabe. She conducted interviews with each artist, as well as other intellectuals of the time, such as Susan Sontag and Clement Greenberg. Her daughter, Celia (a professor, artist, and author) inherited the painting in 2012. PRICE PLUS APPLICABLE TAXES IN CANADA.LARGE FORMAT, EXTRA SHIPPING REQUIRED.
Webb, Jon and Louise 'Gypsy Lou,' eds.
Tucson: Loujon Press, 1969. [14] + 196pp + [6]. 4to. White paper covered boards, b/w photo prints on front and back covers. Colorful stiff endpapers. INCLUDES WORKS BY CHARLES BUKOWSKI, AL PURDY, AND JEAN COCTEAU. Richly decorated throughout with illustrations and b/w photographs. Final edition of The Outsider. TYPE HANDSET, BOOK HANDBOUND. Includes laid-in payment slip, copy of newspaper article describing flood that ended Loujon Press. Also contains HAND-SEALED FLORA AND SPELL MADE BY LOUISE WEBB. Plant paper dustjacket with red lettering and decoration, quite delicate. Fair. Interior of book very clean, very minor wear on spine, otherwise very good.