Sacha GUITRY – Livre signé – Théâtre – Le voyage de Tchong-Li
Sacha GUITRY Sacha GUITRY (1885 - 1957), comédien et dramaturge français Le voyage de Tchong-Li, MCMLII (1952) Volume in-4° faisant parti d'un ensemble de douze de la collection illustrée par Georges Lepape des uvres de Sacha Guitry. Edition numérotée 27 sur un total de 92 exemplaires sur chiffon à la forme des Moulins de Faya, filigranée au nom de Sacha Guitry et signée par l'auteur. Certaines pages non découpées. Exemplaire en très bon état ni tâches ni rousseurs.- $168
- $168
ORIGINAL PHOTOGRAPHIC PORTRAIT OF CHARLES BUKOWSKI AT THE RACETRACK
Bukowski, Charles (subject); Montfort, Michael (photographer) Original color photo on Kodak paper, measuring 23cm x 16.5cm (9" x 6.5"). Thin mounting strip along the upper edge on verso, else Fine. Original photograph of Charles Bukowski taken by photographer Michael Montfort for the 1982 Black Sparrow Press publication of Horsemeat, a celebration in verse and prose of one of the poet's great loves the racetrack. This was one of 20 full-color photographs taken by Montfort for the project, which captured Bukowski prowling the various racetracks of Southern California, like Santa Anita and Del Mar (this image appearing on p.33 in the book, depicting Bukowski, newspaper in hand, admiring a horse as it passes by). An unused image, from the collection of Earle and Larry Gray (of the Earle Gray Bookbinding Company), who bound most of the Black Sparrow Press titles produced between 1967-2001, as well as works by Capricorn, Turtle Island, and various other small presses. 7280.- $400
- $400
INTERNATIONAL LITERATUR 2 – Cover illustrated by Alexander RODCHENKO – Moscow, 1922.
Alexander RODCHENKO (cover illustr.). Moscow, 1932. Chief editor Bruno JASIENSKI. A booklet in the format 175x254mm, 120 pages. Cover illustrated with a composition by Alexander RODCHENKO. An illustration by William GROPPER. Fair condition.- $334
- $334
DANAS nos. 1 to 5, index. Complete set. Belgrade, 1934.
Rastko PETROVIC, VANE BOR, Marko RISTIC, Stanislav VINAVER, Koca POPOVIC, et al. Belgrade, 1934. Dir. M. Krleza, M. Bogdanovic. 6 volumes bound in half cloth, spine titled, covers preserved. Vol. I and II. Nos. 1 to 5. and the index volume. Complete collection. Serbian journal edited by members of the Serbian surrealist group Rastko Petrovic, Vane Bor, Marko Ristic, Stanislav Vinaver, Koca Popovic. Texts by and about D. Aleksic, Apollinaire, Aragon, Arnim Achim, Babaouo, A. Breton, L. Carroll, M. Crnjanski, Dali, M. Dedinac, Eluard, experimental cinema, Grosz, Jarry, Kandinsky, Kassak, Kleist, Lautréamont, A. Loos, Majakowski, Marinetti, Mehring, Matisse, "Nadrealizam Danas i Ovde", Nerval, R. Petrovic, Picasso, Rimbaud, M. Ristic, Sade, the periodical "Stozer", Tzara, et al. Complete with the very rare index. (Modernism, avant-garde periodical - serbian surrealism).- $446
- $446
DALI CONFERENCENCE : L ART CATALAN ACTUAL RELACIONAT AMB EM MES RECENT DE LA JOVE INTEL-LIGENCIA – LA REVISTA – Barcelona, 1928.
SALVADOR DALI Barcelona, 1928. Edited by J.M. Lopez Pico. A booklet in the format 218x288mm. Contains Dali's famous polemical lecture (7 pages): Dali participates in the Autumn Salon at the Sala Pares in Barcelona, only avant-garde element: two paintings, one of which will be withdrawn by the management. Ten days later, Dali gives a polemical lecture "L'art catalan actual relacionat amb el mes récent de la jove intel-ligencia" during which he attacks the current anachronistic Catalan art, close to impressionism, and praises Picasso and Miro. (See Catalogue Paris-Barcelona, RMN, 2002). One of the most important Catalan magazines that promoted the avant-garde.- $334
- $334
L’ONCLE VICENTS – Second book illustrated by Salvador DALI – Barcelona, 1926.
SALVADOR DALI (illustr.), J. PUIG PUJADES Barcelona, 1926. Editorial Poliglota. One volume in 174X251mm format, 177 pages. First edition. Cover and 27 illustrations by Salvador Dali. 2nd book illustrated by S. Dali after "Les Bruixes de Llers". Missing a corner of page 13, otherwise good condition.- $446
- $446
PAILLASSE ! (Fin de « l’Affaire Aragon ») – Paris, 1932.
Salvador DALI, Louis ARAGON, Georges SADOUL, René CHAR, René CREVEL, Paul ELUARD, Max ERNST, Benjamin PERET, Yves TANGUY, André THIRION, Tristan TZARA. Paris, mars 1932. Editions Surréalistes. Un document de 12 pages au format 134x209mm, agrafé. Textes signés par Louis Aragon, Georges Sadoul, René Char, René Crevel, Salvador Dali, Paul Eluard, Max Ernst, Benjamin Peret, Yves Tanguy, André Thirion, Tristan Tzara. Bon état. (Modernisme, modernism, avant-garde, surréalisme, surrealism).- $111
- $111
On Her Majesty’s Secret Service
FLEMING, Ian First edition, first printing. 8vo. Black boards with white ski track design to front board & gilt titles to spine. Pictorial dustwrapper by Richard Chopping. A near fine copy with clean unmarked boards. A couple of small light marks to textblock edges o/w fine. No inscriptions. The very good+ near fine dustwrapper is complete and bright with some edgewear and a couple of short closed tears. Very bright red lettering. Original price of 16snet on front flap. A bright attractive copy without the usual fading to red lettering & toning to spine. Gilbert A11a (1.1). James Bond's passion for his job has gone cold and the only thing that can warm it up is his interest in Contessa "Tracy" Di Vicenzo, a troubled woman who has a penchant for fast cars, gambling and danger. Tracy pulls Bond closer but not close enough; however, if her father a powerful gangland boss can get him close to Blofeld he may be able to consider settling down with Tracy. But Bond is not one to settle down and the unexpected leads to the unthinkable.- $985
- $985
Very Good Jeeves
WODEHOUSE, P. G. First edition, first printing, first issue orange boards with black titles. 8vo. A very good copy with no chipping or splitting to boards. Some dusting to panels. Internally clean and complete with some light spotting to prelims. Wrinkling to rear pastedown. Endpapers original and unsplit. No inscriptions. An uncommon title in first edition. McIlvaine A42a. A collection of 11 Jeeves stories with the ongoing scrapes of Bertie Wooster. In every story Bertie or one of his friends or relatives are in a "scrape" and everyone's favourite valet, Jeeves comes to the rescue.- $217
- $217
Joy in the Morning
WODEHOUSE, P. G. First edition, first printing. 8vo. Orange boards with black titles. Pictorial dustwrapper by Frank Ford. A very good+/near fine copy with clean boards. Clean boards with no marks. Internally clean & complete. Some very light sporadic spotting to edges & endpapers. No inscriptions. The very good dustwrapper is complete with edgewear to extremities & a number of short closed tears. Some dusting to panels. Original price of 8/6net to front flap. A very good copy with none of the usual fading to spine. McIlvaine A65b. Trapped in rural Steeple Bumpleigh Bertie fights against a past fiance and her new fiance, Stilton Cheesewright and the malevolent Edwin the Boy Scout - only Jeeves can save him.- $217
- $217
Very Good Jeeves
WODEHOUSE, P. G. Sixth printing c1935. Red boards with black titles. A near fine copy with very clean boards. Internally clean and co plete with no inscriptions. The very good dustwrapper has edgewear with light chipping/nicking to extremities & some lightening to spine. Original price of 5/-net to front flap. A very good copy of the thicker early edition of this title in same format as the first printing & not the much more common very thin red boards edition from the 1950s. McIlvaine A42a. A collection of 11 Jeeves stories with the ongoing scrapes of Bertie Wooster. In every story Bertie or one of his friends or relatives are in a "scrape" and everyone's favourite valet, Jeeves comes to the rescue.- $112
- $112
La Gazette du Bon Ton – Art – Modes & Frivolités – Lucien Vogel, Directeur. N°10 – 1921 – 4e année. (complet des 8 planches).
[BONFILS (Robert) - SIMEON - LEPAPE (Georges) - MOURGUE (Pierre) - MARTY (André-Edouard) - BRISSAUD (Pierre) - BARBIER (George)] - VOGEL (Lucien), directeur. 8 planches hors texte (pl. 73 à 80), coloriées au pochoir, de Robert Bonfils - Siméon - Georges Lepape - Pierre Mourgue - André-Edouard Marty (2) - Pierre Brissaud - George Barbier pour des créations de Paul Poiret, Worth, Doeuillet, Beer, Jeanne Lanvin.Articles illustrés en couleurs: - Promenades et paysages romantiques (texte de Marcel Astruc, dessins de Charles Martin) - Petit panorama (Célio, Pierre Mourgue) - Armorial des écrivains français (Jean de Bonnefon, Gaston Jouvert de Bussy) - Souliers (J.R.F., Grangier) - Vingt ans après (Gérard Bauër, Roger Chastel) - Babys à la mode (Nicolas Bonnechose, M.-M. Barratin) - Qu'est-ce qu'Amour (Georges Cécil, Charles Martin). "La Gazette du Bon Ton "Art, Goût, Beauté" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Bernard Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia). Réf. biblio. : Colas 1202.- $333
- $333
La Gazette du Bon Ton – Art – Modes & Frivolités – Jean Labusquière, Directeur. 7e année – N°5 – 1924-1925. (NUMERO COMPLET).
[MARTY (André E.) - BARBIER (George) - CHASTEL (Roger) - LEPAPE (Georges) - RUEG (Madeleine) - GOUDIACHVILI (Lado) - DEMACHY (Jacques)] - LABUSQUIERE (Jean), directeur. 9 planches hors texte (pl. 34 à 42), coloriées au pochoir, de André E. Marty, George Barbier, Roger Chastel, Georges Lepape, Madeleine Rueg, Lado Goudiachvili (3) et Jacques Demachy, pour des créations de Jeanne Lanvin, Worth, Madeleine Vionnet et Paul Poiret. Articles illustrés en couleurs : - La Pavlova (textes de George Barbier, dessins d'André Marty) - Sue quelques marches de grès gris (Lucien Farnoux-Reynaud, Montbrun) - La vie en bleu (James de Coquet, Jean Grangier) - Riviera (Gérard Bauër, Roger Chastel) - La vie intérieure (Coriandre, Grangier) - Terre d'Afrique ! (Faure-Biguet, Hubert Giron) - Histoire de l'Orient (Georges-Armand Masson, Lado Goudiachvili) - Le langage des tissus (Jason, L'Hom) - Dans leurs petits souliers (Clergé, Grangier) - La mode et le Bon Ton (Clergé).Numéro bien complet."La Gazette du Bon Ton "Art, Modes & Frivolités" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Bernard Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia). Réf. biblio. : Colas 1202.8 planches hors texte (pl. 17 à 24), coloriées au pochoir, André E. Marty, Georges Lepape, M. Rueg, George Barbier (2), Zinoview, Charles Loupot et Planas pour des créations de Jeanne Lanvin, Max-A. Leroy, Worth, Madeleine Vionnet, Pérugia, Marthe Callot.- $445
- $445
La Gazette du Bon Ton – Art – Modes & Chronique – Jean Labusquière, Directeur. N°9 – Mai 1924 – 6e année. (NUMERO COMPLET).
[LEPAPE (Georges) - MARTIN (Charles) - MARTY (André E.) - MOURGUE (Pierre) - BARBIER (George) - THAYAHT] - LABUSQUIERE (Jean), directeur. 6 planches hors texte (pl. 47 à 52), coloriées au pochoir, de Georges Lepape, Charles Martin, André E. Marty (c'est celle-ci qui est épidermée), Pierre Mourgue, Thayaht et George Barbier, pour des créations de Jeanne Lanvin, Max-A. Leroy, Paul Poiret, Madeleine Vionnet, Worth. Articles illustrés en couleurs : Muguet de Mai par Franc-Nohain - Ida Rubinstein (texte de George Barbier, Dessins d'André Marty) - Coup d'oeil sur les choses d'ici-bas (Faure-Biguet, Pierre Mourgue) - Wonderland (Masson, Jacques Demachy) - Auto, quand tu nous tiens. (James de Coquet, Mourgue) - Opéras d'autrefois (Cecil, Pierre Brissaud) - La Chronique de Paris (avec illustrations en couleurs à pleine page de Roger Chastel, Maurice Van Moppès et en noir par Jacques Demachy). Numéro bien complet."La Gazette du Bon Ton "Art, Goût, Beauté" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia).- $333
- $333
La Gazette du Bon Ton – Art – Modes & Chronique – Jean Labusquière, Directeur. N°6 – 1924 – 6e année. (NUMERO COMPLET).
[LEPAPE (Georges) - BRISSAUD (Pierre) - MARTIN (Charles) - MARTY (André E.) - THAYAHT - BARBIER (George) - CHASTEL (Roger)] - LABUSQUIERE (Jean), directeur. 8 planches hors texte (pl. 25 à 32), coloriées au pochoir, de Georges Lepape (2), Pierre Brissaud, Charles Martin, André E. Marty, Thayaht, George Barbier (2) et Roger Chastel, pour des créations de Jeanne Lanvin, Ducharne, Max-A. Leroy, Paul Poiret, Madeleine Vionnet, Worth, Marcel Franck. Articles illustrés en couleurs: Paroles pour une seule (texte de Jean Labusquière) - Atalante (texte de George Baribier, dessins d'André Marty) - Une scène du Moyen-âge (Astruc, Martin) - Petits Poèmes Rabac (Denise Van Moppès, Maurice Van Moppès) - Souverains qui chassaient (Cécil, Martin) - Chaussez-vous pour les sports (Vaudreuil, Mourgue) - La Chronique de Paris (avec illustrations en couleurs à pleine page de : Chas-Laborde - Hubert Giron et en noir par Pierre Mourgue). Numéro bien complet."La Gazette du Bon Ton "Art, Goût, Beauté" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia).- $389
- $389
La Gazette du Bon Ton – Art – Modes & Frivolités – Lucien Vogel, Directeur. N°8 – 1922 – 5e année. (complet des 8 planches).
[MOURGUE (Pierre) - BRISSAUD (Pierre) - BENITO - MARTY (André E.) - BARBIER (George) - THAYAHT] - VOGEL (Lucien), directeur. 8 planches hors texte (pl. 56 à 63), coloriées au pochoir, de Pierre Mourgue, Pierre Brissaud, Benito, André E. Marty (2), George Barbier (2) et Thayaht, pour des créations de Larsen, Jeanne Lanvin, Worth, Beer, Paul Poiret, Martial et Armand, Lus et Befve.Articles illustrés en couleurs: Les Statues d'Or (texte de Georges Armand Masson, dessins de Bénito) - La poudre et les bals (Célio - Mario Simon) - Les Fichus (Siki - Mourgue) - La femme triomphante (Cécil - Martin) - Le Lamé et le Velours (Vaudreuil - Barbier) - Pour Cendrillon (dessin de La Gazette) - Nemrod ou le Départ pour la chasse (Pierre Mourgue)."La Gazette du Bon Ton "Art, Goût, Beauté" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia).- $389
- $389
La Gazette du Bon Ton – Art – Modes & Frivolités – Lucien Vogel, Directeur. N°6 – 1920 – 3e année. (NUMERO COMPLET).
[BRISSAUD (Pierre) - LEROY (Maurice) - ZINOVIEW - MARTY (André) - LEPAPE (Georges) - DRIAN - JOURDAIN (Francis)] - VOGEL (Lucien). 8 planches hors texte coloriées au pochoir par Pierre Brissaud (3), Maurice Leroy, Zinoview, André Marty, Georges Lepape et Drian, pour des créations de Doeuillet, Jeanne Lanvin, Paul Poiret, Worth et Beer + 4 planches, croquis en couleurs par Francis Jourdain. Articles illustrés en couleurs : "L'Age du Laque", texte de Henri Duvernois, dessins de Charles Martin - "Ah, mon beau chateau", Emile Henriot, Pierre Brissaud - "Les marchandes d'espoir", Sylviac, Martin - "L'impossible hallali", P.L., Eyre de Lanux - "Héraldique d'Angleterre", Jean de Bonnefon, Félix Lorioux et Catti - "Djersador d'Ispahal", Célio, Siméon - "Le divan de Véronique", Louis-Léon Martin, Robert Polack - "Avênement des Amazones", Mayotte, Bénito. Timbre humide d'appartenance (illisible en haut de la page de sommaire."La Gazette du Bon Ton "Art, Goût, Beauté" est une revue de mode fondée à Paris en 1912 par Lucien Vogel. Elle a paru jusqu'en 1925, avec une interruption de 1916 à 1920, soit 69 livraisons. Elle comprend 573 planches coloriées au pochoir et 148 croquis représentant des modèles de couturiers. Chaque fascicule constitue un album de luxe, imprimé sur beau papier en Cochin, caractère totalement nouveau à l'époque. De nombreux artistes y ont collaboré : Guy Arnoux, Léon Bakst, George Barbier, Benito, Pierre Brissaud, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Emile Laboureur, Georges Lepape, Charles Loupot, Charles Martin, André-Edouard Marty Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, imposeront une nouvelle image de la femme. Ils garderont de leur collaboration à cette revue un socle esthétique commun et exposeront leurs uvres sous le nom de Collaborateurs de la Gazette du bon ton. Les planches représentent les robes des créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet, Doucet. Certaines planches ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. [.] La naissance de la Gazette du bon ton est un événement dans l'histoire de l'édition de mode. C'est la première revue qui allie souci esthétique, exigence de beauté et d'unité plastique." (Sources Wikipédia).- $445
- $445
Esperienze Intorno alla Generazione Deglinsetti Fatte da Francesco Redi Accademia della Crusca, e scritte in una letters, 1674 [MASTERPIECE REFUTING SPONTANEOUS REGENERATION; 39 COPPERPLATE ENGRAVINGS]
THIRD EDITION OF FRANCESCO REDI'S MASTERPIECE REFUTING SPONTANEOUS REGENERATION, first published in 1668. "A milestone in the history of modern science," Redi's book outlines the first series of experiments to disprove 'spontaneous generation' -- "a theory also known as Aristotelian abiogenesis" (Wikipedia). Francesco Redi was an Italian physician, naturalist, and poet. Redi's seminal work includes 39 particularly gorgeous copperplate engravings. "At the time, [the] prevailing wisdom was that maggots arose spontaneously from rotting meat"; in other words, that nonliving matter could generate the production of living organisms" (ibid). In his experiments, Redi captured maggots and waited for them to metamorphose, becoming flies. "Also, when dead flies or maggots were put in sealed jars with dead animals or veal, no maggots appeared, but when the same thing was done with living flies, maggots did" (Wikipedia). Redi compared two groups of meat: "the first left exposed to insects, and the second group covered by a barrier of gauze. In the exposed meat, flies laid eggs, which quickly hatched into maggots. On the gauze-covered meat, no maggots appeared, but Redi observed fly eggs on the outer surface of the gauze" (Benecke, A Brief History of Forensic Entomology). Knowing full well the terrible fates of out-spoken scientists like Giordino Bruno and Galileo Galilei, Redi was careful to express his new views in a manner that would not contradict to theological tradition of the Church; hence, his interpretations were always based on biblical passages, such as his famous adage: omne vivum ex vivo ('All life comes from life')" (Wikipedia). CONDITION & DETAILS: Florenz: Onofri. 1674. Quarto (9.5 x 7 inches; 238 x 175mm). Complete. [4], 136, [39], 1. 39 copperplate engravings in near fine condition (29 numbered; 10 unnumbered; 3 large folding). Vellum bound with the title written on the spine in an early hand. A large section of the vellum has been cut from the rear board and is missing. The binding and its stitching, however, remain very solid. Vellum has some creasing, but is still handsome. Two early ownership signatures; see photos. Consistent with its age, slight toning within.- $1,300
- $1,300
Representation of a function by its line integrals with some radiological implications II in Journal of Applied Physics 35, October 1964, pp. 2908 – 2913 [ORIGINAL WRAPPERS]
FIRST EDITIONS IN ORIGINAL PAPER WRAPS OF PART II ONLY OF ALLAN CORMACK'S SEMINAL INVENTION OF A MATHEMATICAL TECHNIQUE FOR COMPUTER-ASSISTED X-RAY TOMOGRAPHY (CAT Scans) - TOGETHER, THESE TWO PAPERS DOCUMENT THE INVENTION OF THE CAT SCAN. Cormack's work produced the most revolutionary development in the field of radiography since the discover of the x-ray by Rontgen in 1895. In 1979, Cormack and Godfrey Hounsfield received the Nobel Prize in Medicine for their work in "the development of computer assisted tomography" (Nobel Prize Committee). "This was the first time that researchers trained not in the medical sciences but in mathematics and engineering received the Nobel Prize in Medicine" (Grolier Medical Hundred, 365). Cormack's work as a theoretical physicist with a special interest in computer tomography and math drove his interest in and invention of a mathematical technique for computer-assisted X-ray tomography. Cormack's papers contain the first description of the mathematical theory of axial tomography, the method by which the varying X-ray absorption rates of tissues in the human body can be used to construct a detailed picture of the organs and soft tissues. Computerized axial tomography, otherwise known as the CAT scan, is a process by which X-rays can be concentrated on specific sections of the human body at a variety of angles. Once this information is analyzed by a computer, it is combined to reproduce images of internal structures previously unviewable by medical technology. Cormack was the first to analyze the possibility of such an examination of a biological system, and in these papers, developed the equations needed for computer-assisted x-ray reconstruction of pictures of the human brain and body. CONDITION & DETAILS: Individual issue original wrappers, October 1964. American Institute of Applied Physics. (10.5 X 8 inches; 263 x 200mm). Fine condition. Clean and bright inside and out.- $500
- $500
Quantum Theory of Gravity. I. The Canonical Theory in Physical Review 160 No. 5, 25 August 1967, pp. 1113-1148 [WHEELER DEWITT EQUATION; COSMIC SCHRODINGER EQUATION]
FIRST EDITION of Bryce DeWitt's first paper on quantum gravity, including the introduction of both the Wheeler-DeWitt equation and canonical quantum gravity. "Quantum gravity attempts to unify quantum mechanics (which describes the behavior of electromagnetism, the weak interaction and the strong interaction) with general relativity (the theory of gravity)" (Wenner Collection). NOTE that we separately offer the 1st ed. in original wraps of all three parts of Bryce DeWitt's paper on quantum gravity, including the introduction of the Wheeler-DeWitt equation. In this work, DeWitt, known as the father of quantum gravity, formed important calculations on quantum gravity highly controversial and important to modern theoretical physics. The Wheeler-DeWitt "equation expresses the expectation that the total energy of a closed universe vanishes" (Liebscher, Cosmology, 269). It is a "cosmic Schrodinger equation" that describes the whole universe - both atoms and galaxies - in a unified manner. Although controversial, the equation does in fact unify deep properties of both quantum theory and general relativity. "The Wheeler-DeWitt equation is a functional differential equation on the space of three dimensional spatial metrics. It is ill defined in the general case, but very important in theoretical physics, especially in quantum gravity. The equation has the form of an operator acting on a wave functional, the functional reduces to a function in cosmology. Contrary to the general case, the Wheeler-DeWitt equation is well defined in mini-superspaces like the configuration space of cosmological theories" (Wikipedia). CONDITION & DETAILS: Lancaster: The American Physical Society. Vol. 160, Number 5, 25 August 1967, pp. 1113-1148 (DeWitt paper). Full volume pp. 719-1611. Fully indexed. Additionally, there are 36 pages of separately culled abstracts. Ex-libris bearing only a small stamps on the front & rear flypapers & text block. There are no spine markings. 4to (10.5 x 8 inches; 263 x 200mm). Bound in pristine brown buckram, gilt-lettered at the spine. Near fine condition inside and out.- $400
- $400
Spectroscopic Observations of the Sun. Received February 2, Read March 19, 1874. Pp. 577-586 in The Philosophical Transactions of the Royal Society, Vol. 165, Pt. 2.,1876 [OFFPRINT of LOCKYER’S DISCOVERY OF HELIUM ON THE SUN. 6 PLATES]
RARE OFFPRINT OF JOSEPH LOCKYER'S DISCOVERY OF HELIUM ON THE SUN. ORIGINAL PAPER WRAPS, FINE CONDITION. 6 PLATES. An "offprint" is a separately published and bound issue of the journal paper in question. Usually these are printed for the given authors and for authors to give to colleagues. Because they are rare, offprints are considered more desirable that either the original issue of the journal in paper wraps or bound. Helium was the first chemical element discovered on an extraterrestrial body -- in this case, the sun -- prior to its discovery on the Earth. Lockyer's discovery of helium also represents the first element discovered via spectroscopy. Though rare on the Earth, helium is the second most abundant element in the universe, comprising 24% of known baryonic matter by weight. Lockyer discovered helium on the sun in 1868 when he adapted his 6-inch telescope to utilize a spectroscope and while using it to carry out electromagnetic spectroscopic observations of the sun during an eclipse, he discovered a yellow line never seen before in the laboratory. Unable to reproduce the line in his lab, Lockyer made the bold suggestion that the line was the 'fingerprint' of an element, an element he named 'helium' for Helios, the Greek God of the Sun. Lockyer's finding -- the only element to be discovered in space before it was discovered on Earth -- was the first element to be discovered by spectroscopy. As Lockyer tried to make sense of his initial discovery of a yellow line, he reasoned that "because the bright yellow line was close to the D1 and D2 lines of sodium, it [should be] designated D3. In order to identify the lines in his spectral data, Lockyer enlisted the help of the prominent British chemist, Edward Frankland. Their laboratory work showed that the majority of the observed solar lines were due to hydrogen, though often modified by changes in temperature and pressure. The D3 line, however, could not be reproduced in the laboratory" (Jensen, "Why Helium Ends in 'ium'?) . While Lockyer was ridiculed for his discovery for many years, in 1895, twenty-five years after Lockyer's initial discovery, William Ramsay confirmed the existence of Helium when he managed to isolate it from another mineral. In 1897, Lockyer was finally knighted for his discovery of helium. CONDITION & DETAILS: London: The Royal Society. Offprint from The Philosophical Transactions of the Royal Society, Vol. 165, Pt. 2. 1875. [Printed in 1876]. Continuously paginated, pp. 577-586. 4to. (300 x 225mm; 12 x 9 in.). ILLUSTRATIONS: 6 plates EXTERIOR: Bound in original paper wraps. Tightly bound. Near fine condition.- $1,400
- $1,400
Permit Me Voyage
AGEE, JAMES Original gray boards, lettered in black to the spine. 8vo - 59 [1] pp. Author's first book. A remarkable first effort from this 25 year old writer and a clear harbinger of the brilliant works to come. A very sharp copy. Previous owner contemporary signature and date to the front free endpaper. The name is that of Ralph Sargent and I believe this to be Ralph M. Sargent (1904-1985), author and Professor. He earned his PhD at Yale and later joined the faculty of Haverford. His papers now reside at The University of Tennessee. So there is both a Yale and Knoxville, Tennessee connection. This is a lovely copy of the book with only the slightest wear to the ends of the spine. I love this book because it demonstrates so clearly the profound talent of a young author on the cusp of becoming a truly great American author. Near Fine / Near Fine.- $550
- $550
Morocco From A Motor
VERNON, PAUL E. Original illustrated boards. Published on September 14, 1927, in an issue of 3300 copies. With 48 full color illustrations from photoraphs. Published at 12s 6d. 184 pp with full color fold-out map present at the rear. A pristine copy, fine in all respects. Information from A&C Black Colour Books by Colin Inman. Fine.- $150
- $150
Histoire de la Navigation.
LINSCHOTEN, Jean Hugues Amsterdam, Evert Cloppenburgh, 1638. Folio [20 x 30.5 cm], (4) ff. [including half-page engraved portrait on verso of 4th preliminary leaf], 206 pp.; (2) ff. [including second engraved title], 181 pp.; (1) f. [third engraved title], 1-60; 67-86 [i.e., 79] pp., 36 plates and 6 maps. Bound in contemporary vellum over pasteboards, edges of covers frayed and corners exposed; blank right corner of title and of preliminaries slightly dog-eared, some leaves a bit dusty; but generally an exceptionally fresh, altogether unsophisticated copy. Excellent. The preferred large format French language 3rd edition. This is a large and absolutely genuine example of this classic illustrated travelogue to the East and West Indies, termed by Lach the most important of the firsthand accounts published independently of the great travel collections (I.198). No other book contained so much practical intelligence on the East and West Indies as Linschoten's. Unhindered by the censorship that affected writers from the Iberian Peninsula, the author included such information as sailing directions, physical descriptions of countries, and statistics on commerce and trade. The work was held in such high regard that for nearly a century, every Dutch ship headed for the East carried a copy of a Dutch edition of Linschoten. This copy of the third French edition (esteemed for its plates; see below) is rather unusual for being in an entirely contemporary condition in its original binding, and entirely unsophisticated internally. Although the work contains valuable reconnaissance for the New World (see below), the material on the East Indies is far and away the most valuable, being the fruit of the author's own observation. In the service of the Portuguese, Linschoten spent five years in Goa (1583-88/9), making numerous visits to the mainland. He was thoroughly immersed in Indian culture and the complex relations between the Portuguese colonial apparatus and indigenous peoples. Highlights include a first-hand descriptions of the caste system, political structures, business practices of the Banyas, and exotic natural phenomena. The first book treats the East Indies and East Africa, including regions as far east as Japan. The second book describes the navigation of the coasts of West Africa around the Cape of Good Hope to Arabia, together with the coasts of the New World, and includes a real roteiro after the Portuguese royal pilot Diego Affonso that sets out sailing directions from Portugal to India and from island to island in the East Indies. The third book is devoted to North America (Florida), the Caribbean and Brazil. The work was first published in Dutch in 1595/6. Latin and English translations followed in 1598. The first French edition appeared in 1610, but the plates are copies of the reduced version based on those in the De Bry; the second and third French editions return to the original, folio-sized plates of the Dutch edition and are accordingly the most desirable. * Borba I, 490; Alden/Landis 638/37; Tiele 686-88; Lach, Asia in the Making of Europe, 1.1.196-204 & 482-90; Burnell & Tiele, The Voyage of John Huyghen van Linschoten to the East Indies, Hakluyt Society (Old Series) LXX-LXXI (London 1885).- $75,000
- $75,000
La Description Geographique des provinces & villes plus fameuses de l’Inde Orientale.
POLO, Marco [10], 123, [1] ff. (printer's device on verso). Bound in modern red crushed morocco, raised bands, spine in six compartments, spine gold tooled and lettered, covers blind tooled, gold-tooled board edges, gold-tooled dentelles, blue ribbon bookmark, red sprinkled edges. Only very minor rubbing corners, bookplate inside upper cover. Title a bit dusty, inscription on title ("Masson"), minor pale spotting to first few leaves, a few minor marginal stains, contemporary signature to f. 80 ("Didier Langreve"?), verso of final leaf a bit dusty. Rare first French edition of the work considered "the first to give anything approaching a correct and detailed account of China and the Far East" (PMM), and perhaps the most influential travel book of all time. This first appearance in French should possibly be linked to topical interest in the wider world: The description of China in Münster's Cosmographia is mentioned in the preface and one should recall that the 1550s saw intensive French exploration and colonization in the Americas. "Marco Polo was a member of a prosperous Venetian family engaged in commerce. He set out with his father and uncle in 1271 on a journey to the East. Starting from Acre the party traveled through Persia and the Upper Oxus to the Pamir plateau, and then through Mongolia and the Gobi Desert to the extreme north-west of China, reaching Shantung in 1275. Here they sojourned at the court of Kublai Khan until 1292, finally arriving back in Venice, after travelling through south-east Asia and Southern India in 1295. During his stay in China Marco Polo took an active part in the administration of the country and travelled widely in the great Khan's service. He saw--or obtained knowledge of--large parts of China, northern Burma. Tibet, Japan, south-east Asia, the East Indies, Ceylon, southern India, Abyssinia, Zanzibar and Madagascar, Siberia and the Arctic" (Printing & the Mind of Man). The account was dictated by Polo while a prisoner after the Venetians lost to Genoa. The text was curiously composed in French, and circulated widely in manuscript: 138 are extant today. The first printed edition appeared even more curiously in German, but it was in the Latin edition of 1483/4 and the Italian of 1496 that it began to make a wider impact. The present edition is the work's first (printed) appearance in French and was brought out simultaneously by three different Parisian booksellers, issued with variant titles and different final leaves: the present issue, that by Vincent Sertenas, and one by Etienne Groulleau. They made a similar arrangement for a 1559 translation of Machiavelli, from which we know positively that Groulleau did the printing. * Cordier Sinica III.1977-78; Adams P-1791 (Groulleau); Printing & the Mind of Man 39 (Italian 1496); Hill p. 237 (modern edition, with cross-reference to Ramusio).- $95,000
- $95,000
Description du premier voyage faict aux Indes Orientales par les François en l¿An 1603. [including separate title pages for the Description et Remarque de quelques animaux, episceries, drogues¿ and the Traicte du Scurbut].
François Martin, de VITRÉ (4) ff., 134 (i.e. 131) pp. Bound in contemporary vellum, housed in modern book box. Signature I misbound. Impeccable copy, excellent. Extremely rare first edition of the first French account of the East Indies to appear in print (cf. Lach & van Kley, III: 373), here in an impeccable copy bound in early vellum. The work is that of the French adventurer François Martin de Vitré (c. 1575-c. 1631), who, upon his return to Brittany from the East Indies in 1603, prepared this lively account at the behest of King Henry IV (1553-1610). Martin¿s narrative inspired Henry in 1604 to establish the first iteration of the French East India Company (Compagnie des Indes Orientales) with designs on exploiting the treasures described in the present work (cf. Lombard, ¿Martin de Vitré, Premier Breton à Aceh¿). Likely enlisted as ship¿s surgeon aboard the Croissant, François Martin of Vitré, along with several companions from Saint-Malo and Laval, sailed from Britanny in 1601, rounding the Cape of Good Hope in May of that year. The Croissant¿s companion ship, the Corbin, wrecked in the Maldives, but Martin eventually succeeded in reaching Ceylon and trading with the Aceh in Sumatra. Upon his return journey he was captured by the Dutch at Cape Finisterre but finally returned to France in 1603. In his preface Martin summarizes the European powers¿ incursions in the East and laments the tardiness of the French to exploit the region¿s riches: ¿This has made me deplore the defect of the French, who more than any other nation are provided with a vivacity of spirit and a formidable worthiness, but who have nevertheless languished for so long in a slumber of idleness, ignoring information on the treasures of the East Indies with which the Portuguese and Spanish have enriched themselves¿ (p. 3). In the first two sections of the work Martin gives ample space to the discussion of flora, fauna, and commercial matters relevant the regions he visits (aromatic plants, spices, crops, the elephant, rhinoceros and tiger, the crocodile, tortoise and bird of paradise, livestock, the hunt, woods, weights and measures, currency, etc.), but he also includes a great deal of anthropological detail. Evidently the stereotypical red-blooded Breton seafarer, Martin, in his chapter on the ¿habits and customs we observed during our stay in the Indies¿ (pp. 38-66) dwells mainly on women ¿ the prostitution of premarital women, their perfumes, their bathing rituals, their medicines, and their punishment for adultery. He also notes gestures of salutation (two hands together before one¿s forehead), marriage customs (¿they can marry seven wives if they have the means to support them¿), and gives detailed reports on the traditions and inner workings of both Hinduism and Islam. He notes Turkish merchants to be frequent visitors to these lands, and writes of seeing a cannon of Chinese manufacture. Martin¿s intriguing 4-page dictionary of words useful for the traveler includes a section on counting in Malagasy, the language of Madagascar. The volume also contains a brief but significant ¿dictionary¿ of the Malay language, described here as ¿Elegant and easy to learn, like Latin¿ (¿fort beau & facile a aprendre ¿ comme le latin en leurope¿). Finally, in his presumed role as ship¿s surgeon, Martin penned a third section treating scurvy, recommending among other cures the use of citrus fruits and an aqueous preparation of alum. OCLC lists only two U.S. copies of this 1604 first edition: NYPL and the Minnesota¿s Bell Library (lacking 2 prelims). The work was reprinted in 1609, and of this second edition OCLC locates U.S. copies only at Harvard and the Boston Athenaeum. * Atkinson 444; Brunet, Supl. I, 920 (citing only the second edition); cf. also Denys Lombard, ¿Martin de Vitré. Premier Breton à Aceh (1601-1603),¿ Archipel 54: 3-12 (1997).- $50,000
- $50,000
Astronomicarum Institutionum Libri III. Quibus doctrinae sphaericae elementa methodo nova, facili, & ad captum Tyronum aptissima traduntur.
NAIBOD, Valentin / [NABOD] (8), 192 ff., with numerous textual woodcut illustrations. Bound in contemporary limp vellum, manuscript title on spine. Minor rubbing to binding, some wrinkling to spine. Minor browning in some quires, some minor marginal worming not affecting text, a few contemporary inscriptions in the text. Generally very good. Very rare first edition, second issue of this understudied work, ¿apparently the earliest Italian imprint to depict and discuss the Copernican system¿ (Gingerich) by the Cologne-born Professor of Mathematics at Padua. The work includes a printed diagram of the geo-heliocentric system of Martianus Capella (41r) as well as a diagram and exposition of the Copernican system (leaf 41v). The work is included in the Galileo bibliography of Cinti (no. 5) owing to the Copernican diagram. Cinti does not comment further than this, but it is interesting to speculate that the young Galileo (b. 1564), whether as a student at Pisa or a lecturer at Padua, may have encountered the Copernican hypothesis in the present work. It is not surprising that the exegesis of Copernicus would come relatively late to Catholic Italy in comparison to Protestant, German speaking countries, in light of both the establishment of the Index of Prohibited Books (1559) and the widespread efforts of the Counter-Reformation to insure doctrinal conformity in printed books. That it passed the watchful eye of the censor at all is probably due to its appearance in an unassuming astronomy primer and the somewhat hypothetical manner in which the theory is expressed. Although the impact of Naibod¿s work in Italy is difficult to assess, it is positively known that a copy of the first issue was owned by Tycho Brahe, still extant in the Clementinum in Prague, and it has been argued by the historian of astronomy Robert Westman that Tycho¿s encounter with the geo-heliocentric diagram of Martianus influenced the development of the Tychonic system. It also has been suggested that the Tycho assistant Paul Wittich was familiar with this work, and that the concept of ¿world system¿ (systema mundi) employed by Kepler, Tycho and Galileo originated with the present work. ¿In his elementary textbook of astronomy Valentin Nabod gave the system of Martianus Capella in which Mercury and Venus revolve about the sun. He added that Copernicus had taken occasion from this to make Saturn, Jupiter and Mars, and indeed everything included within the sphere of the moon, revolve about the sun as center of the universe, while the sun and fixed stars remain unmoved. Copernicus had thus ¿with so small a number of spheres¿ saved all the phenomena through the ages, as no one before him had done, with the greatest praise and admiration of the learned. Nabod then presented a figure of the Copernican system, which, as we have seen, was an unusual thing to do in an elementary textbook. He remarked that no one should be greatly offended by the movement of the earth and quiet of the sun. If, however, anyone preferred to consider the earth at rest and the sun as in motion, he could reach the same results by practically the same demonstrations, as was understood by all who knew anything about mathematics¿ (Thorndike, VI.40). Naibod (d. 1593) matriculated at Wittenberg in 1544, one year after the publication of De Revolutionibus, when the faculty included such important Copernicans as Reinhold and Melanchthon. He also wrote commentaries on the astrologer Alcabitius and on the Sphere of Sacrobosco. He acquired a certain amount of fame in the astrological literature of his own time for the rare feat of successfully predicting the day of his own death (see Thorndike VI.121). OCLC lists Huntington (Dibner), CIT, Harvard, University of Michigan, American University and University of Oklahoma. No American copy of Primarum de coelo (Venice 1573), though OCLC lists 4/5 German/Swiss copies. Cinti 5; not in Riccardi and no mention in Rose, The Italian Renaissance of Mathematics; Weil Cat.29.39 (c. 1950); Thornd- $8,500
- $8,500
SS. Apostolorum et Evangelistarum Icones cum suis parergis.
BARBÉ, Jean-Baptiste / VAN LOON, Theodoor Single-sided engravings, (1) engraved title, (20) engravings. Unbound, fixed with small staples at top edge. Minor marginal handsoiling and spotting, small marginal holes to a few leaves, minor edge wear, light browning to a few leaves. Generally very good. Very rare first edition of a set of engravings by the Antwerp printmaker Jean-Baptiste Barbé (1578-1649) after the designs of Theodoor van Loon (c.1581-1649), a Flemish painter noted as an early stylistic follower of Caravaggio (1571-1610). The work presents bust-length portraits of the Holy Family, the Four Evangelists, and the Twelve Apostles, each set within a fancifully designed sculptural frame, with the wording of the collection¿s title ¿ Icons with their Frames (¿parergis¿)¿ emphasizing the importance of the relationship between painted image and its enclosing frame. While the strong shading of some plates recalls Caravaggio¿s tenebrism, facial types, which gaze sweetly into the distance, are perhaps more indebted to those of Guido Reni (1575-1642), who was working in Rome and at the height of his popularity around the time these engravings were produced. Each ¿icon¿ is depicted with his attribute or an instrument of martyrdom (e.g., Peter¿s keys, Luke¿s ox, Andrew¿s cross), and the frames often echo these iconographic connections (e.g., herms flanking the portrait of James the Major are dressed as pilgrims). The emphasis on framing devices here is likely related to the rise in an interest in Christian archeology that began around 1600 and greatly influenced the way venerable images were treated in the remodeling of major churches and their altarpieces: For example, Theodoor van Loon certainly would have known his countryman and exact contemporary Peter Paul Rubens¿ (1577-1640) early Roman commission to enclose the ancient Santa Maria in Vallicella icon at Chiesa Nuova in an elaborate, pictorial altar frame (1606-08). This suite of engravings by Barbé should not, therefore, be seen only as a collection of images suitable for personal devotion, but also as a thoughtful visual treatise concerning the way artists were asked to confront and re-present early Christian art and iconography in the first half of the seventeenth century. Interestingly, these engravings are prominently dedicated on their title page to Wenceslas Cobergher (1560-1634), a painter, architect, engineer, theorist of institutional pawn shops (monti di pietà), numismatist, and collaborator of van Loon who was deeply interested in Roman and early Christian antiquities and their use by contemporary artists. * Hollstein, Dutch and Flemish, vol. 1, p. 100, nos. 45-64; M. Funck, Livres belge à gravures, p. 356; I. Baldriga, et al., Theodoor van Loon: ¿Pictor ingenius¿ et contemporain de Rubens, 2011; T. Meganack, De kerkelijke architectuur van Vensel Cobergher in het light van zijn verblijf te Rome, 1998. OCLC and KVK locate copies at the National Gallery (D.C.), Clark Art Institute, BnF, and Vlaamse Erfgedbibliotheek (Antwerp).- $3,850
- $3,850
Daido Moriyama: Tokyo (Reflex New Art Gallery), Special Limited Edition (with Gelatin Silver Print) [SIGNED]
MORIYAMA, Daido, FEIL, Marcel First edition, first printing. Hardcover. Special limited edition of 40 (this being #28/40), with a gelatin silver print, in a black paper folio with titled embossed in pink. Book and print (in folder) housed in a velvet-covered clamshell box. The silver print image size is 6-5/8 x 9-1/4 inches; paper size 8 x 10 inches, and is signed and numbered on verso in pencil by Moriyama (the photograh was made in the 1970s and printed in 2003. ABOUT THE BOOK: Photographically illustrated paper-covered boards with printed obi, no dust jacket as issued. Boldly signed (in Japanese and English) in black marker opposite the title page by Moriyama. Photographs by Daido Moriyama. Essay by Marcel Feil. Design by Alex Daniels. 104 pp., with 78 black and white plates (most 2-page spreads), finely printed by Meco Offset BV, Zwaag, The Netherlands. 9-3/4 x 6-6/8 inches. This first trade edition was limited to 1000 copies. Out of print. Very scarce. As New. Signed by Author.- $2,750
- $2,750
Roni Horn: Haraldsdóttir, Part Two (Ísland (Iceland): To Place 10), Special Limited Edition Artist’s Proof/AP (with Archival Pigment Print) [SIGNED]
HORN, Roni Special limited edition of 100 copies + 25 Artist's Proof copies (this being AP #14/25), with an original archival pigment print (image size 9-1/2 x 7-1/2 inches; paper size 9-7/8 x 7-7/8 inches), signed in pencil recto by Horn and numbered verso in pencil. The laid-in print and book are contained in a matching cloth-covered slipcase. About the book: First edition, first and only printing. Hardcover. Fine bright blue linen cloth with debossed title in black, no dust jacket as issued. Photographs by Roni Horn. 144 pp., with 100 four-color and tritone plates, beautifully printed on heavy fine matte art paper by Steidl Verlag. 11 x 8-5/8 inches. This first edition was limited to 1000 hardbound copies (100 of which were reserved for this special Limited Edition, with print). Out of print. Scarce. [Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. As New in publisher's original packaging (from the artist's archive). Book, slipcase and print are flawless. Using water as context, photographs of a woman create an intimate but ambiguous portrait where the face becomes the place. This is the tenth volume in the series of the work, To Place (It is related to Haraldsdóttir, which was published in 1996 by Ginny Williams). To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their starting point Iceland and the evolving experiences of the artist in this country. From Roni Horn (in a 1995 interview with Claudia Spinelli): Spinelli: "Compared to your installations, looking at and reading books is a very private way of confrontation." Horn: "It's very intimate. A book is really a sensual, if not sexual experience and I use these books to focus people in this very intimate one-on-one relationship. The book can become a kind of mirror. The book has an inside and an outside. (A lot of things don't have that. They have only outsides; images for example.) And then you enter it and it has a fixed sequence. It has a before and an after, there is a narrative implicit in it. So all that is part of the structure that I'm using. I'm working on the sixth volume now which is completely different again. It focuses on one woman, exclusively. It's about the face as place. It's a sequence of very tight head shots. I was photographing Margrét outdoors and in water. The water and the weather became very important as the visual context. Water and weather are dominant phenomena in Iceland. So we would travel and I would photograph her in the water and in the weather. It was a very simple relationship: I didn't tell her to do anything, she would just get into the water and I would photograph her. In the sunlight and with the clouds under the open, forceful sky--the water was all around her, on her, and in her hair, and in the air as well." Horn: "The entrance to all my work is the idea of an encyclopedia of identity. It is best represented by the books, the series called To Place, which is extremely important to me. I have been working on this since 1988. It's really the heart. It is a series of books, each one of which adds to the whole in a way that alters the identity of it retroactively. So the first volume appears to be a book of drawings. The second book was about a completely different subject but in the same format. With the third volume people start to realize something: 'Well, this looks like a series, so there must be some relationship. But I haven't a clue as to what it is.' Then there was the fourth volume, with texts and photographs. The books are this very slow process of accumulation in the period of a life, my life." From the publisher: "In 1996, [Ginny Williams] published Roni Horn's Haraldsdóttir, the tenth book in her "To Place" series about the- $1,500
- $1,500
Roni Horn: Lava, Special Limited Edition (with Gelatin Silver Print) (Ísland (Iceland): To Place 3) [SIGNED]
HORN, Roni Special limited edition of 100 copies (this being #78/100), with an original gelatin silver print (8 x 10 inches), numbered and signed in pencil on verso by Horn. The print is enclosed in 3 special additional folding orange endpapers attached to the rear inside board of the book and presented with a copy of the book in an embossed cloth slipcase, in a numbered edition of 100. About the book: First edition, first and only printing. Hardbound. Black linen cloth with blind-stamped title, no dust jacket as issued. Photographs of lava (reproduced actual size) and text by Roni Horn, with studio photography by Morgan Rockhill, Providence, Rhode Island. Designed by Roni Horn and Anthony McCall Associates, New York. 96 pp., with 45 four-color and black and white plates, beautifully printed on heavy fine matt art paper. 10 1/2 x 8 3/8 inches. The lava used to make the images was collected in Iceland between 1979 and 1991. This is the third volume in the series of the work, To Place. Out of print. Very scarce. To Place is an ongoing series of publications. Each volume is a unique dialogue addressing the relationship between identity and place. The books take as their starting point Iceland and the evolving experiences of the artist in this country. [Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. As New in publisher's original packaging (from the artist's archive). Book, slipcase and print are flawless. From Roni Horn (in a 1995 interview with Claudia Spinelli): "The entrance to all my work is the idea of an encyclopedia of identity. It is best represented by the books, the series called To Place, which is extremely important to me. I have been working on this since 1988. It's really the heart. It is a series of books, each one of which adds to the whole in a way that alters the identity of it retroactively. So the first volume appears to be a book of drawings. The second book was about a completely different subject but in the same format. With the third volume people start to realize something: 'Well, this looks like a series, so there must be some relationship. But I haven't a clue as to what it is.' Then there was the fourth volume, with texts and photographs. The books are this very slow process of accumulation in the period of a life, my life." Signed by Author.- $4,950
- $4,950
Bill Burke: Mine Fields, Limited Edition (Lacking Print) [SIGNED]
BURKE, Bill First edition, first printing. Special limited edition of 75 copies, signed by Burke, in a black linen slipcase (with blind-stamped land mine shapes and red printed label tipped in), lacking the original 10 x 8 inch gelatin silver print. Signed in ink opposite the title page by Burke (under his self-portrait). Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. 118 pp., with 95 duotone and numerous color reproductions, including two 2-page gatefolds (photographs, video stills, journal entries, film stills and other illustrations, from Burke's trips to Cambodia since 1982). 11-1/4 x 8-7/8 inches. Out of print. As New. Burke designed the book entirely in the offset printing medium, without computer resources. Also included with the book is a booklet 16-page journal/book insert (8 1/8 x 5 3/8 inches) with illustrations of samples from Burke's personal journals, and including 11 black and white reproductions of Polaroid prints. From the publisher: "Mine Fields (a sequel to Bill Burke's justly famous I Want to Take Picture), is Burke's scrapbook of his life and his pursuit of the history and daily life of Cambodia. Part adventure story, part personal confession, part travelogue, and always fascinating, Burke's negotiation of the mine fields of divorce and war is a compelling collage of photographs, found objects, stories, and the contrast between glorious ancient temples and the horrors of war and genocide." About Bill Burke: Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say- $204
- $204
![On Edge: Photographs by Karin Apollonia Müller [SIGNED]](https://rarebookinsider.com/wp-content/uploads/2024/06/31723497564.jpg)
On Edge: Photographs by Karin Apollonia Müller [SIGNED]
MÜLLER, Karin Apollonia First edition, first printing. Signed in black ink on the half-title page by Müller. Hardcover. Fine gray cloth-covered boards with tipped-in four-color plate on cover and printed vellum dust jacket. Photographs by Karin Apollonia Müller. Unpaginated (48 pp.), with 28 four-color plates beautifully printed on fine matt art paper. 12-1/4 x 14-7/8 inches. This first edition was limited to 500 copies. New (opened only for signature). From the publisher: "On Edge is Karin Apollonia Müller's second monograph, and the first to be published by Nazraeli Press. While Angels in Fall (2001) dealt with the disconnect between human beings and their environment, On Edge shows the earth 'crumbling away,' and our futile efforts to control or hide the subtle invasion of nature into cultivated spaces. Working in color with a muted palette and low contrast, Müller creates powerful images which evoke a sense of displacement in keeping with the artist's 'visitor status' as a foreigner in Los Angeles. Born in Heidelberg in 1963, Müller grew up as the daughter of a sea captain. She studied photography and film at the University of Essen before moving to the western United States in 1995. Karin Apollonia Müller's work has been widely exhibited in the United States and Europe, and is included in such collections as The Museum of Modern Art, New York; the Whitney Museum, New York; and the San Francisco Museum of Modern Art." Signed by Author.- $110
- $110
![Melanie Pullen: High Fashion Crime Scenes [SIGNED]](https://rarebookinsider.com/wp-content/uploads/2024/06/31723490706.jpg)
Melanie Pullen: High Fashion Crime Scenes [SIGNED]
PULLEN, Melanie, CRISELL, Luke, ENRIGHT, Robert, WESTERBECK, Colin First edition, first printing. Signed, dated and noted ("L.A. 2007") in black in on the title page by Pullen. Hardcover. Photographically illustrated paper-covered boards with title printed on cover and spine, with matching dust jacket. Photographs and text by Melanie Pullen. Foreword by Luke Crisell. Essays by Robert Enright and Colin Westerbeck. Includes thumbnail reproductions and titles of the plates. 128 pp., with 57 varnished four-color plates beautifully printed on fine matt art paper. 14 1/4 x 11 1/4 inches. This first was edition limited to 3000 hardbound copies. As New in As New dust jacket (publisher's original shrink-wrap laid-in, opened only for signature). From the publisher: "Melanie Pullen's long-awaited first monograph, High Fashion Crime Scenes, presents her breathtakingly beautiful works based on vintage crime scene images, first-hand accounts, and documents Pullen mined from the files of the L.A.P.D. In 2002, drawn to the rich details and compelling stories preserved in the criminal records, Melanie Pullen began restaging the events, outfitting the 'victims' (her selected models) in current haute couture, and photographing them in her staged settings. To create this work, Pullen at times enlisted the help of up to sixty people per shoot: set builders, makeup artists, models, stylists and stunt crews, among others. Her models have included the actresses Rachel Miner and Juliette Lewis. The collection of more than one hundred images has received considerable critical acclaim in the national and international press. Over the past three years, the twenty-nine year old artist has occasionally worked as a commercial fashion photographer. She has shot layouts for the likes of Flaunt and Rolling Stone." Signed by Author.- $325
- $325
A New Mappe of the Romane Empire newly described by Iohn Speede.
SPEED, John Speed's map of the Roman Empire Double-page engraved map with hand-colour. A map showing the historical extent of the Roman Empire from the 1676 edition of the first atlas compiled and published by an Englishman, Speed's 'Prospect'. The decorative border along each side depicts men in regional costume from former imperial countries (for example, 'A Spainyard'), with 'His Wyfe' illustrated in the panel below. Along the top of the map is a series of city views. Among these is Venice, despite the fact that it was not founded until 421 C.E. and, as such, post-dates the heyday of Rome. A cartouche at the lower edge provides a potted history of the foundation and expansion of the Roman Empire. In the top left-hand corner is a medallion portrait of Roma, the personification of Rome, and in the top right-hand corner is Romulus, legendary founder of the city. Accompanying text in English, 'The Description of the Roman Empire', is printed on the reverse. John Speed (1552-1629) was the outstanding cartographer of his age. By trade a merchant tailor, but by proclivity a historian, it was the patronage of Sir Fulke Greville, poet and statesman, that allowed him to pursue this interest in earnest. His 'Theatre of Great Britain', first published in 1611 or 1612, was the first large-scale printed atlas of the British Isles. The 'Prospect of the Most Famous Parts of the World', from which the present work is drawn, appeared in 1627, bound with the 'Theatre', and is the first world atlas compiled by an Englishman to be published in England. Engraved in Amsterdam, many of the maps are anglicized versions of works by Dutch makers in distinctive carte-à-figure style, featuring borders with figures in local costume and city views. This map is from the 1676 edition of the 'Prospect', published by Thomas Bassett and Richard Chiswell. While not as rare as the earlier publications, this edition is perhaps the most important, given that it is the first to include the nine new maps: among them, Virginia and Maryland, Barbados, and Russia. It is also the last time that the 'Prospect' was printed as an atlas. Shirley [Atlases], T.SPE-2f.- $1,953
- $1,953
Essai sur l amour tiré des Réflexions morale de Mr De la Rochefoucault.
[MANUSCRIT]. [LA ROCHEFOUCAULD]. Grand in-8 de 182 pp. Veau brun marbré, triple filet doré en encadrement des plats avec fleurons en écoinçons, dos à nerfs, roulette dorée sur les coupes, tranches rouges (rel. de l époque). Charmant manuscrit littéraire décoré du 18e siècle aux encres de trois couleurs (rouge, noire et sépia), d une seule et même main, d une écriture parfaitement lisible, sur cent quatre-vingt-deux pages numérotées. Il est orné d un magnifique titre décoré au lavis d encre rouge, d un beau bandeau en en-tête et d un cul-de-lampe pour chaque chapitre ainsi qu un bandeau pour la table et de petits culs-de-lampe pour chaque article de chapitres. Dans une préface circonstanciée, l auteur explique son choix de s inspirer des Maximes de François de La Rochefoucauld. S il trouve dans cet ouvrage une matière extraordinaire à disserter sur d innombrables sujets moraux, le « désordre » des maximes n est pas à son goût et les commentaires comme ceux de l abbé de la Roche qui affirme que l alternance des sujets empêche l esprit du lecteur de s émousser ne le convainquent pas le moins du monde. Cet esprit des lumières aime les « avantages solides de l ordre », et le plan de son essai en six chapitres nous le prouve : « Ce que c est que l amour : de la sympathie, de l envie de régner, de l envie de prospérer ; De l avantage et de la véritable destination de l amour : quelle espèce de bonheur l amour peut nous procurer, quelles sont les bornes de ce bonheur ; Des plaisir et des avantages de l amour : la sympathie rend plus heureux par la passion que l on a que par celle que l on donne ; l amant guidé par l amour propre est plus heureux par la passion qu il a que par celle qu il donne ; De la constance en amour ; Des dangers de l amour ; Des femmes ; De la jalousie. » Manuscrit très intéressant et très décoratif de cet essai semblant inédit. Reliure restaurée.- $2,754
- $2,754
A People’s History of the United States: 1492 – Present
Zinn, Howard Reprint. Signed by Howard Zinn on the title page. Bound in publisher's original yellow paper-covered boards over black spine cloth lettered in gilt. Near Fine with light wear at corners and spine ends. In a Near Fine unclipped dust jacket with light toning, light rubbing and crimping at the edges. The late radical historian's best-known work, which has reportedly sold over two million copies.- $450
- $450
Maskerade.
PRATCHETT, Terry. London: Victor Gollancz, 1995. 8vo. Publisher's burgandy cloth, spine lettered in gilt; in the original pictorial dust wrapper (not price-clipped); pp. [vi], 7-285; a touch faded along the spine, a very good copy. First edition, signed by the author. The fifth book in the Witches Series, and the eighteenth book in Discworld. This story follows a set of mysterious murders that happen behind the scenes of Ankh-Morpork's Opera House.- $232
- $232
Jingo
PRATCHETT, Terry London, Victor Gollancz, 1997. 8vo. Original cloth, tiitled gilt to spine, with illustrated letterbox dust wrapper; pp.285; a very good copy, signed to title. First edition, signed by the author. The 21st novel in the Discworld series and the 4th City Watch novel. When a lost city rises from the ocean, Discworld goes to war, which is of course very illegal and can't help but get the city watch involved.- $154
- $154
An Unexpected Gift.
VAN SANDWYK, Charles (author and illustrator). [North Vancouver]; Charles Van Sandwyk Fine Arts. 2013. 8vo. Original cherry-red card jacket exquisitely embellished in green and red foil with border and lettering panel in burnished gilt over gilt card with an onlaid pictorial card plate to upper cover depicting a reindeer and a penguin; pp. [44], including beautiful matt gilt endpapers with a repeating design of holly sprigs in colours; with text pages printed in green on cream laid paper, with decorations in red; with 7 fine full colour plates (including 1 double-page spread), some printed on untrimmed handmade paper, together with other plates and vignettes in sepia and red; a fine copy. First edition, signed in ink by the artist below the illustration of the penguin and the polar bear with the mistletoe. One of Charles van Sandwyk's sought-after Christmas books. A gentle, and traditional, tale of Bartholomew the Green, cousin of Father Christmas, who leaves Antarctica on a mission to restore an old-fashioned Christmas to a wayward and needy world.- $201
- $201
The History of Sandford and Merton.
DAY, Thomas. London: Walker and Evans et al., 1815. 12mo. Full calf, spine lettered in gilt on morocco labels; boards filleted in gilt and ornamented in blind; gilt dentelles; marbled edges; pp. xii, 420; with two engraved frontispieces; minimal bumping to corners and rubbing to extremities; contemporary ownership inscription in ink to front fly-leaf; slight spotting to text, a very good copy. First published in 1783, this was a popular educational work for children. Following the lives of two young boys, Tommy Merton and Harry Sandford. As the pair work through different challenges and experiences, Day communicates simple yet important moral lessons and virtues in topics such as friendship, honesty, and hard work.- $154
- $154
Fringilla: Some Tales in Verse
BLACKMORE, Richard Doddridge London: Wlkin Mathews, 1895. 4to., sage green cloth elaborately blocked and lettered in dark green to both boards and spine, with a central circular motif featuring a bird to the lower cover; pp. [ix], 2-128, 20 [ads.]; with full decorative title; proliferated throughout with borders, initials and full-page illustrations by Louis Fairfax Muckley, and three by James W. R. Linton; all behind mounted tissue-guards; edges, endpapers and tissue guards a little browned; evidence of a former bookplate being removed from the front paste-down; some light spotting to prelims; still a lovely example, a little pushed to corners and head/foot of spine. First edition, published simultaeously with the American edition, also printed in 1895, which had parallel illustrations by Will Bradley. "Can'st thou suppose it right or just, When thine own creature so misled us, In virtue of our simple trust, To torture us like this, and tread us Back into dust? Often referred to as the "Last Victorian", R. D. Blackmore is best known for his magnum opus Lorna Doone, and much of his other work has faded into obscurity. Despite this fact, however, he achieved literary merit and acclaim in his time for his vivid descriptions and personification of the countryside, sharing with Thomas Hardy a Western England background and a strong sense of regional setting in his works. One reviewer writes, of his work: "He may be said to have done for Devon what Sir Walter Scott did for the Highlands and Hardy for Wessex." Fringilla, as a series of tales told in verse, focuses on Blackmore's love of nature, but also includes poems which explore themes of Egypt, Good and Evil, Religion, Myths and Legends.- $704
- $704
Nocturnes.
ISHIGURO, Kazuo. London: Faber and Faber, 2009. 8vo. Original midnight blue boards; dark green endpapers; in the original unclipped dust jacket (£14.99) with a photograph of the author to the lower flap; pp. [x], 3-221, [xi]; fine. First edition, signed by Ishiguro on title-page. A cycle of five short stories. "From the piazzas of Italy to the Malvern Hills, a London flat to the 'hush-hush floor' of an exclusive Hollywood hotel⦠young dreamers to cafà musicians to faded stars, all of them at some moment of reckoning."- $196
- $196
4′ x 5″ Original Photograph of Old Fort Apache (circa 1890)
A nice sepia photograph of Old Fort Apache Adjutant's Office with officers standing on porch. The adjutant's office, built of adobe in 1875 was maintained even after Geronimo's surrender. They still were tryiing to capture the Apache Kid and Massai as well as move squatters from the Apache reservation.- $155
- $155
The Antiquities, Natural History, Ruins, and Other Curiosities of Egypt, Nubia and Thebes;exemplified in Near Two Hundred Drawings Taken on the Spot
Norden, Martin F. Folio. When Frederick Ludwig Norden went to Egypt in 1737 on an exploratory mission, he was the first European to penetrate as far as Derr in Nubia and to publish descriptions of the Nubian temples. He died in 1757 but fortunately his work was completed with engravings of Mark Teuscher. This work was projected to have up to 200 engravings but 164 were all ever issued which includes a portrait of the author. This very rare posthumous publication of The Antiquities, with its wonderfully detailed and realistic plates has survived in beautiful condition (there is a scarce edition issued in 1792), the Danish master engraver Carl Marcus Tuscher worked on his friend Norden's work in London. The engravings when finally published captured the European imagination about Egypt in a way that was to dominate the dramatic research for the next several centuries. The work remains to this day a valued primary source on the appearance of Egyptian monuments before the widespread excavations and tourism of the 19th and 20th centuries - including the first ever depiction of The Great Sphinx missing its nose. All 164 engravings are present as in all recorded copies. (NYPL has all the images online). Bound in ¾ calf over marbled paper covered boards, earlier rebacking retaining the original endsheets and morocco spine label laid down, pencil notes on rear endpaper from previous owner's collation. Some ocassional light scattered foxing to few plates, margins toned. Very rare.- $11,845
- $11,845
The Oracle of Southern California Vol. 1 No. 6
Underground Newspaper - Russell, Stan, Editor (Timothy Leary, Fred Adams, Charles Miller et al) Tabloid newspaper format. Unpaginated. Issue number six of this underground newspaper offshoot of The San Francisco Oracle which was edited by Allen Cohen. Unfolded format and uncommon thus. Not folded and in handsome very good condition.- $113
- $113
The English Moths and Butterflies: Together with the Plants, Flowers, and Fruits whereon they Feed, and are usually Found
Wilkes, Benjamin A print from the first edition of this work, with hand colored plates drawn by two of the most celebrated botanical artists of the 18th century, Georg Ehret and Jacob van Huysum. The engravings show the complete life cycles and habitats of each species. Two orange & black moths hovering above an erica or broom plant. Sml. "112" penciled in lower right corner. 12 3/8 x 9 7/8". Engravings in original hand color, plate mark visible, printed on laid paper. Outside the plate mark in the margins, some light browning at the bottom edge and from sticky tape transference from the verso. Overall, very good, bright condition. "Benjamin Wikes was one of the most significant of the group of 18th century 'aurelians' which established British entomology in the direction it was to follow for well over a century." (Wilkinson, Benjamin Wilkes, the British Aurelian p.4). The continued title: All Drawn and Coloured in such a Manner, as to represent their several beautiful Appearances, Being copied from the Subjects themselves, and Painted on the best Atlas Paper.- $165
- $165
Retreat
Blunden, Edmund First edition. No. 53 of 112 copies, signed by the author. Title page printed in red and black. 70 pp. 1 vols. 8vo. Kirkpatrick A25b Brown buckram. Fine, in fine dust jacket Title page printed in red and black. 70 pp. 1 vols. 8vo First edition. No. 53 of 112 copies, signed by the author.- $200
- $200
The Sportsman’s Companion or An Essay on Shooting . by a Gentleman
(Derrydale Press) Fourth edition and first Derrydale. One of 200 copies. ix, 52, [2, contents] pp. 1 vols. 8vo. Fine Copy. An uncommon Derrydale reprint of the earliest sporting book published in America. Rarely seen in the slipcase and in such outstanding condition. Siegel 44; Frazier S-19-a Original blue paper over boards, with paper spine label and label on upper cover. Fine in original blue board slipcase ix, 52, [2, contents] pp. 1 vols. 8vo Fourth edition and first Derrydale. One of 200 copies.- $500
- $500
Retreat
Blunden, Edmund First edition. No. 53 of 112 copies, signed by the author. Title page printed in red and black. 70 pp. 1 vols. 8vo. Kirkpatrick A25b Brown buckram. Fine, in fine dust jacket Title page printed in red and black. 70 pp. 1 vols. 8vo First edition. No. 53 of 112 copies, signed by the author.- $200
- $200
Personal Memoirs of U. S. Grant
Grant, Ulysses S. First edition. Illustrated. 584, 647, [1]pp. 2 vols. 8vo. IN PUBLISHER'S DELUXE FULL TURKEY MOROCCO. The president and Civil War general's remarkable memoir, written in the final years of his life as he was suffering from terminal throat cancer. Suffering both physically and financially, as the result of financial misfortune, Grant began writing his autobiography in the fall of 1884 and finished in July of 1885, five days before his death. Samuel Clemens (Mark Twain) encouraged Grant and shepherded the book to publication through the Webster connection. Eagerly anticipated by a public that had been following Grant's illness in the press, the book was an immediate success upon its release, and has long been considered one of if not the best memoirs written by an American president. Since its publication, it has received acclaim from literary figures including Twain and Gertrude Stein, and from numerous modern American historians and political commentators from Eric Foner to Ta-Nehisi Coates. The publisher's full morocco binding is by far the rarest form of the work and the most expensive format when published. Publisher's deluxe full black Turkey morocco, with blind stamped corner fillets and portrait medallions of Grant on front and rear covers; title stamped in gilt on spine, with additional gilt stamping to edges, with very minor bumping; all edges gilt; marbled endpapers Illustrated. 584, 647, [1]pp. 2 vols. 8vo- $4,750
- $4,750
In Summer. The Rotunda of the Bishop of Derry . with decorations by Edward Carrick
Blunden, Edmund First edition, one of 290 numbered copies, signed by the author. [8] pp. First leaf is a blank. 1 vols. 8vo. Kirkpatrick A42a [8] pp. First leaf is a blank. 1 vols. 8vo First edition, one of 290 numbered copies, signed by the author.- $250
- $250
Great Short Stories of the War. England, France, Germany, America. With an introduction by .
Blunden, Edmund, editor First edition, no. 30 of 250 copies printed on India paper, signed and numbered by the editor. 983 pp. 1 vols. 8vo. Kirkpatrick B40b Black buckram spine, titled in gilt, marbled boards. Near fine, bright copy (minor rubbing) without slipcase First edition, no. 30 of 250 copies printed on India paper, signed and numbered by the editor.- $350
- $350