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KEPES, JULIET.

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Item Description: The distinguished and innovative artist, writer and illustrator, Juliet Appleby Kepes (1919-1999) is best known for the 17 children's books she wrote and illustrated, which won her a Caldecott Honor citation (for "Five Little Monkeys" in 1952) and other awards from the Museum of Modern Art, the American Institute of Graphic Artists, and the Society of Illustrators. The New York Times four times cited her books among the ten best children's books of the year. Her book "Birds" (1968) was published under the auspices of the Department of Printing and Graphic Arts of Harvard College Library, and introduced by its curator, Philip Hofer.The British-born wife of Gyorgy Kepes, the influential artist and theorist, Juliet Kepes was trained at the Chicago Institute of Design (known then and now as the New Bauhaus), and worked as an artist in a number of fields relating to children, designing environmental spaces, murals, sculpture and textiles, among other things, sometimes in collaboration with her husband. Her work was recently featured in the Museum of Modern Art's "Century of theChild: Growing by Design, 1900-2000" (July-November 2012), in which the famous playroom environment she and Gyorgy Kepes designed for their daughter in 1949 was recreated at the Museum for this exhibition. Juliet Kepes's gouache drawing for the playroom mural was reproduced as a poster for the MOMA exhibition. The present archive includes more than 3,000 original drawings in various formats-ranging from quick occasional sketches to elaborately finished watercolors and finely painted sumi ink wash scrolls and albums-as well as extensive manuscript and typed texts for her books, both published and unpublished, and artwork relating to these from various stages of technical production. Also among the drawings are examples of her designs for holiday and greeting cards, some of which were published by the Museum of Modern Art and by Design Research.In addition, the archive includes a variety of other creations, such as handmade puppets and painted wooden objects for children's rooms, bolts of textiles jointly designed by Juliet and Gyorgy Kepes, and examples of her original lithographs, etchings and silkscreens, all of which relate to her work as an illustrator. The archive also includes correspondence with editors, publishers, gallerists, and collaborators, as well as other professional files.Perhaps the most significant aspect of the Juliet Kepes Archive is the vast amount of material it contains-both of illustrations and of text-for books that were never published. These projects include some of her finest work, which, for various reasons of her own, and of her several publishers, were never completed or released. They include hundreds of manuscript drafts and annotated typescripts, together with an extraordinary wealth of artistic designs, worthy of study and, perhaps, eventual publication. Further details on request. Price on application. Bookseller Inventory # B115992-1

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BARROSO, MIGUEL.

Published by Spain, circa 1588. (1588)

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Item Description: Spain, circa 1588., 1588. Pen and ink, and brown wash, heightened with white, on 2 sheets of heavy blue paper, joined together by the artist. Sight: 493 x 402 mm. (ca. 19 3/8 x 15 3/4 inches). This is one of a well-known group of drawings for liturgical vestments, made by Spanish artists active at the Escorial between 1587 and 1598. Miguel Barroso (1538-1590), who trained with Gaspar Becerra, arrived at the Escorial in 1587, and worked there continuously for the rest of his career; he was named painter to Philip II in 1589. Along with his contributions to the frescos and altarpieces in the chief cloister, under the direction of Pellegrino Tibaldi, he is known to have worked as a draughtsman for embroideries of the vestments of the Monastery of El Escorial, and a number of drawings by him for these are conserved at the Library at the Escorial, bound together in a single folio. Priscilla E. Muller, reviewing the discussion of these in Angulo and Pérez Sánchez’s "Corpus of Spanish Drawings," notes that "Twelve drawings by Miguel Barroso, a Spaniard of Italianate training who was engaged for work at the Escorial from 1587 until 1590 [constitute] a group of New Testament scenes drawn in 1588 for the embroidery of vestments, several of which remain at the Escorial. Deliberately linear and compositionally stylized, the drawings do not reflect a personal manner. [as] might be expected of any drawings that might be uncovered relating to his Escorial paintings, which are less bluntly narrative if hardly less Mannerist than the New Testament embroidery drawings."Angulo and Pérez Sánchez note that additional pattern drawings for these vestments, attributed to other masters, are also conserved in a second folio at the Escorial Library (Corpus catalogue nos. 309-385), and they go on to point out that additional drawings are known to have left the Escorial in the course of the nineteenth century, mentioning sheets at the Biblioteca Nacional in Madrid, the National Gallery in Edinburgh and the Musée des Beaux-Arts in Orléans; others are known in the collections of the Louvre, the Yale University Art Gallery, the Metropolitan Museum of Art, and the Pierpont Morgan Library. Apart from these, few Spanish designs for embroideries seem to have survived. This particular drawing would appear to have been designed for a cope. Whether it relates directly to the groups above remains to be determined, given among other things, its comparatively high degree of finish, and especially its very large size (which noticeably exceeds the dimensions of the drawings catalogued by Angulo and Pérez Sánchez); it is also on blue paper (whereas most of those are on greenish-grey). That it is neither signed nor pricked for transfer, as many (but not all) of those are, is not conclusive. Bookseller Inventory # B96280-3

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DUCHAMP) Breton, André & Duchamp, Marcel (editors).

Published by Paris (Pierre à Feu/ Maeght) (1947)

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Item Description: Paris (Pierre à Feu/ Maeght), 1947. 139, (3)pp., 44 collotype plates with numerous illus., and 24 original prints hors texte, as follows: 5 original color lithographs by Brauner, Ernst, Hérold, Lam and Miró; 5 original etchings (1 color) by Bellmer, Jean, Maria, Tanguy and Tanning; 2 original woodcuts by Arp; and 12 lithographs in black by Brignoni, Calder, Capacci, van Damme, de Diego, Donati, Hare, Lamba, Matta, Sage, Tanguy and Toyen. Lrg. 4to. Plain paper wraps. Chemise: pink boards, mounted with a tinted foam-rubber Readymade breast construction by Duchamp, encircled by a hand-trimmed black velvet cut-out. One of 950 numbered copies from the limited edition of 999 on vélin supérieur, constituting the deluxe tirage of the catalogue, the etchings printed by Lacourière, the lithographs by Mourlot frères. Apart from this was also a regular edition, unnumbered, issued in paper wrappers without the original lithographs, and without the Duchamp multiple that houses the deluxe catalogue."Back in New York, Duchamp came up with an idea for the cover, which to a certain measure was derived from the collage he had made for the catalogue of the First Papers of Surrealism exhibition in 1942: a woman’s bare breast encircled by a swath of black velvet fabric entitled ‘Prière de toucher’ (‘Please touch’). For the regular edition, a black-and-white photograph of this subject was prepared in accordance with Duchamp’s instructions by Rémy Duval, a photographer from Rouen best known for a book of nudes published in Paris in 1936. For the deluxe edition, actual foam rubber falsies were painted and glued to a pink cardboard cover by Duchamp with the assistance of the American painter Enrico Donati. ‘By the end we were fed up but we got the job done,’ Donati later recalled. ‘I remarked that I never thought I would get tired of handling so many breasts, and Marcel said, ‘Maybe that’s the whole idea’" (Naumann). This copy is without the "Prière de toucher" label that usually appears on the other panel of the chemise. The chemise is from the estate of Enrico Donati, Duchamp’s collaborator on the work, and it is in extremely fine condition, the breast and surrounding support bright and fresh. It is also complete with the original box, which is often lacking. Copies in this condition are quite rare. Bookseller Inventory # B97393-8

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Blondel, Jacques-François.]

Published by [Paris] (1745)

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Item Description: [Paris], 1745. Entirely engraved. Title-page, allegorical frontispiece, (18) pp. of calligraphic text within elaborate ornamental borders, and 19 plates, of which 10 are double-page. Folio. 620 x 470 mm. Bound by Padeloup (with his engraved ticket mounted at foot of title-page) in contemporary full red morocco, outer border of fleurs-de-lis, spine gilt with the royal cypher in spine compartments, marbled endpapers, a.e.g. First and only edition. "Très beau livre de fêtes" (Cohen-De Ricci), and a politically important official French work of art issued during the reign of Louis XV, being the record of the royal wedding of Louis, Dauphin de France (aged 16) to Marie-Thérèse de Bourbon of Spain (aged 19). The marriage took place in Versailles on February 23, 1745, with all expected ostentation. There were major celebrations in Paris as well, and the present volume illustrates the problems--and ingenious solutions--in accomodating the greatest number of "celebrants." Magnificent pleasure halls were erected throughout Paris in which the French court and populace danced, dined and drank until dawn on the eve of the royal wedding day. These halls were open-sided, and the festivities literally spilled out into the streets, as shown in the scenes of revelry depicted within. The monarchy held its own private ceremonies at Versailles, which are also illustrated with great fidelity in the present volume. The plates offer a wealth of details of every aspect of the festivities, with cross sections, ground plans and elevations; two plates provide illustrations of the great banquet tables adorned with elaborate centerpieces, silverware and ornamental candlesticks.Unfortunately, the marriage was short-lived, as the young bride, Marie-Thérèse, died shortly thereafter. To insure the succession of the throne, a second marriage was arranged; the Dauphin and Maria Josepha of Saxony were married in 1747. To them were born eight children, of whom three ruled as Kings of France: the future Louis XVI, Louis XVIII, and Charles X. The Dauphin himself never ascended the throne, and died before his father, Louis XV in 1765. "Jacques-François Blondel, who had designed the illustrations for the 1739 marriage of the Princess Marie-Elizabeth was responsible for the design and engraving of the architectural plates of this volume, including plans, views, and elevations of the two temporary structures that were erected in the Place Louis le Grand, where the ceremonies took place. But the spectacular nighttime perspective view of the illuminated Salle de Carousel was engraved by Oubrier. The title-page was designed by Charles Eisen, a major engraver of the period and engraved by another major engraver, Jean Charles Delafosse. The allegorical frontispiece was designed by Hutin and engraved by Le Bas" (Dora Wiebenson, in Millard).Blondel's participation in the book is not actually acknowledged in the work itself. It is thus especially interesting to find in this copy, at the foot of the title-page, a manuscript label calligraphically inscribed: "Dessiné et gravé par les soins de François Blondel, Architect du Roy." Two other copies (including the Fürstenberg-Schäfer copy) bear a similar manuscript label assigning authorship to Blondel. In this copy, the lettering of the plate "Vue perspective de la salle du bal . de l'Hôtel de Ville" is within a frame of double rules and has a background of wavy vertical lines; other copies exist in which the lettering is without a frame, against a plain background (priority indeterminate)."The volume is notable for the high quality and artistic versatility shown in the reproduction of its many night scenes, which are interesting studies in the use of light and shade. The illustrations provide a traditional record of the major figures in the ceremonies, the pomp of the pageant As with earlier records of royal ceremonies, specific details of the splendid affair are reproduced, even to the design of the food on the buffets" (Wiebenson). A splendid. Bookseller Inventory # B116574-1

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Velde, Jan van den.

Published by Amsterdam (Bÿ Willem Iansz. inde vergulde Zonnewÿser), [ca. 1609]. (1609)

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Item Description: Amsterdam (Bÿ Willem Iansz. inde vergulde Zonnewÿser), [ca. 1609]., 1609. Engraved title-page (designed by Karel van Mander, engraved by Jacob Matham), second engraved title-page (in Latin), engraved portrait of the author (by Jacob Matham), 50 (of 54) engraved calligraphic plates; 22pp. letterpress text (signed A-E2, F1) with 17 engraved illus. Oblong folio. Full vellum over boards, both covers with blindstamped crests within ruled fillets and small cornerpieces. Modern fitted cloth slipcase and chemise. An uncut large-paper copy of one of the most beautiful of all writing books. "Apparently without the slightest difficulty Jan van den Velde executed every style of writing with an unparalleled virtuosity which is really astounding. He stands out as a master in the making of letterforms in any conceivable shape, but he also shows himself a great decorative artist in his inimitably complicated, yet always tasteful and harmonious, scrolls, and finally as an able draughtsman of sometimes whimsical, sometimes bizarre, but always lively figures of humans and animals which ornament his calligraphy. The ‘Spieghel’ owes much to the ability of the engraver, Simon Frisius, who translated van den Velde’s art into the medium of the copperplate. The calligrapher praised him lavishly for it" (Verwey)."Van Mander’s design for the title is in the Rijksprentenkabinet, Amsterdam, as are van den Velde’s original penned models for this celebrated book. Simon Frisius (ca. 1580-1629) engraved the writing samples; he had previously done the same for Guillaume Le Gangneur. First published in Rotterdam by Jan van Waesberghe in 1605, the ‘Spieghel’ was soon translated into Latin and French editions and was reprinted several times. The plates were taken over in turn by two Amsterdam publisher-printsellers, Cornelisz Claesz. and Wilhelm Jansz. Blaeu, who added his engraved imprint to the bottom of the title-page for this edition of ca. 1609" (Becker)."Following Mercator’s treatise, van de Velde’s copy-book. is usually considered the most important work on calligraphy to be printed in Holland. Van de Velde’s scripts are a link between the Italienne-bastarde letters seen in the Frenchmen Materot and Barbedor and the eighteenth-century English round hand. Van de Velde enjoyed considerable fame as a calligrapher; one of his sons was the renowned artist Jan II" (Baltimore).This copy lacks four plates. The letterpress, though with one leaf less than the Hofer copy, is complete, having been reset in a different issue containing the same texts and cuts. Imposing in its dimensions, this copy measures 308 x 373 mm. (as compared with the Hofer copy’s 237 x 340 mm.). The plates are bound first, in a variant sequence (including the second title-page within the body of the plates). The text, mounted on stubs at the end, is of more conventional dimensions, though these leaves (all uncut) vary in height to some extent, one from the next. Occasional very unobtrusive wear and expert mends; in general remarkably fresh and bright; a superb copy. Bookseller Inventory # B75873-1

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MINKKINEN, ARNO RAFAEL.

Published by N.p., [1973]. (1973)

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Item Description: N.p., [1973]., 1973. 1f. (title/colophon leaf), 20 vintage selenium-toned gelatin silver prints, each signed on the verso in pencil by the artist. Sheet size: 10 x 7.5 inches. Image size: 5.5 x 3.5 inches. 4to. Clamshell box with stretch-fabric wrap-around band, mounted with title. Contents loose, as issued. Edition of 20 copies, signed and numbered in ink by the artist in the colophon. Images dated between October 1971 and October 1973, printed by the artist and assembled in 1976. Fine, as issued. Bookseller Inventory # B115892-1

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LARMESSIN, NICOLAS DE, II.

Published by Paris, [circa 1700]. (1700)

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Item Description: Paris, [circa 1700]., 1700. 38 full-page engraved images set within ruled borders. Average image size: 270 x 190 mm. (10 1/2 x 7 1/2 inches). Paper stock certainly late seventeenth- or early eighteenth-century; two unidentified watermarks are present: the imperial orb with crowned fleur-des-lys and the initials "G__P" or "G__B" set inside a perfect orb. Folio. 435 x 310 mm. Recent French quarter red morocco, gilt at spine, marbled paper over boards; raised bands. A very rare series of this famous French seventeenth-century suite of fancy trade costumes. Each plate is devoted to a single stylized character, usually an itinerant craftsman, merchant or street vendor. The figures are portrayed much in the manner of Arcimboldo, the accoutrements and tools of their particular trade whimsically adorning their clothes, and sometimes constituting their anatomies.The gardener (Jardinier) has a floral and fruit composition for a hat, clay flower pots for forearms, and fruits and flowers for legs, with hoes, rakes and a scythe over one shoulder and a watering can in the other hand; the clock maker/seller (Orlogeur) is composed of an elegant table clock as his chest, with chiming bells as a hat, pocket watches dangling from each arm and leg, and clock keys and winding devices hanging from his belt.The surrealistic aspect of the figures, dressed as if to attend a costume ball at the court of Louis XIV, removes them from the grime of the workplace and brings them into the realm of the marvelous. Some of the figures’ now unfamiliar accoutrements are at the same time the subject of esoteric study, the Larmessin engravings being a source for historians of the art and material culture of this period of pre-factory production.This group of 38 engravings includes the following figures: Gardener (Jardinier), Money Changer (Monnoyeur), Miller (Meusnier), Maker of Table Games (Tabletier), Printer (Imprimeur en Lettres), Fisherman (Pescheur), Blacksmith (Marechal), Winemaker (Vigneron), Hatmaker (Chapellier), Knife and Sissor Sharpener (Remouleur Gaigne Petit), Plumber (Plombier), Cobbler (Sauetier), Basketmaker (Vannier), Locksmith (Serrurier), Leatherworker (Ceinturier), Wheelwright (Charron), Second-hand Clothes Seller (Fripier), Dairyman and Cheesemaker (Layettier), Brickmason (Masson), Baker (Boulanger), Butcher (Boucher), Farm Laborer (Labourer), Wild Game Chef/Seller (Rotisseur), Saddlemaker (Sellier), Furrier (Foureur), Wine Merchant (Cabaretier), Chest and Box Maker (Malletier-Coffretier), Comb and Brush Seller (Peigné), Coffee Merchant (Caffetier), Hosier (Bonnetier), Tailor (Tailleur), Plume and Feather Seller (Plumassier), Playing Card Printer (Cartier), Physician (Médecin), Chef (Cuisinier), Comedian (Comédien), Perfume Maker/Seller (Parfumeur), and Clockmaker (Orlogeur). The de Larmessin (or L'Armessin) family was a renowned French dynasty of engravers, printers, and booksellers active during the seventeenth and eighteenth centuries. The suite of prints from which these plates derive has been given various titles: Les costumes grotesques et les métiers, Costumes grotesques, or Habits des métiers et professions. Roger-Armand Weigert in his article, "Sur les Larmessin et les costumes grotesques" in "Nouvelles de l'Estampe," discusses the family at length and settles the attribution for the creation of these exceptional prints on Nicolas de Larmessin II (1638-1694), known for his numerous engravings for books, calendars, almanacs, and various decorative prints. The Costumes grotesques has occasionally been attributed to Nicolas Larmessin III (1640-1725), and it is possible that both of them worked on this extensive series of prints. This group of Costumes grotesques is mainly without background décor, indicating them to be in the second issue. Colas cites a total of 97 engravings in the series, but the Bibliothèque Nationale de France set, contains only 41 engraved plates, and their catalogue states that the complete series is limited to a total 77 engravings.These pr. Bookseller Inventory # B116025-1

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Item Description: [Antwerp], 1569. Engraved title-page [plate 1], engraved plates 2-33. Complex grotesque and strapwork Mannerist ornamental borders on all leaves. Watermark: cluster of grapes. Oblong 4to. Nineteenth-century marbled boards, 3/4 cloth, with gilt red leather supralibros. Modern cloth slipcase. The exceedingly rare first issue of the first edition of this masterpiece in the history of writing and calligraphy, whose remarkable beauty and innovative character established it as the model par excellence for a whole series of books published in the Netherlands from 1594 on. That it is the work of an eighteen year-old boy is nothing short of astonishing. "The 'Exertatio' may be looked upon as a showpiece, a special collector's item suitable for princes, nobility and wealthy burghers, to be coveted by all lovers of penmanship. Presented in a large format, its beautifully written title, and exemplars all set within imaginative, intriguing, and richly decorated borders, no writing-book had hitherto been such a form. An additional feature which will have made the book even more attractive for collectors was the fact that never before had a writing-master's book been reproduced in copper engraving. Quite apart from the aesthetic advantages or disadvantages this method entailed in comparison with woodcut, hitherto used for reproducing script, this was a technical first . Add to this that until then the models in such a book had never yet been written in so many languages, seven in all, and each of them in its appropriate hand" (Croiset van Uchelen). "With the exception of Neudörffer's early experiments with etched lettering samples, Perret's book is the first intaglio writing manual" (Becker). Among its many marvels of the calligraphic inscriptions are a plate of mirror writing, and a calligram in the form of four mirrored hearts, braided in a single line of text.Significant aspects of the book's history remain uncertain, as does much of the author's mysterious biography. The design of the 'Excertatio's' elaborate grotesque and strapwork ornamental borders has been attributed by some authorities to Perret and by others to Hans Vredeman de Vries, and opinion is divided on the engraving of the borders, attributed variously, and uncertainly, to the Doetechum brothers, to Jacob Floris, and to Ameet Tavernier. (The writing samples are assumed to have been engraved by Cornelis de Hooghe.) Perret himself (1551-1591), whose even rarer "Eximiae peritiae alphabetum" followed the "Exercitatio" two years later, in 1571, virtually disappears from view for two decades before his early death. The great seventeenth-century Dutch calligrapher Jan van den Velde, in a testimonial statement discovered by Croiset van Uchelem, implied that Perret had entered the service of Queen Elizabeth I of England as her personal tutor in the Italian hand--a circumstance that could explain Perret's complete absence from Netherlandish documents, though there are equal arguments to dispute its accuracy.In a census of extant examples, Croiset van Uchelen has located only four copies of the first issue, among the twenty-six copies of the book in public collections throughout the world (Amsterdam University Library; Sächsische Landesbibliothek, Dresden; British Library; Victoria and Albert Museum). Apart from the fact that the plates in the first issue are unnumbered, printed before the addition of roman numerals, the text exhibits numerous differences from later issues; Croiset van Uchelen has identified more than sixty points, mostly of errata, which were later rectified, beginning with the first word of the title. In addition to changes in spelling and line-breaks, there are other corrections, such as a small panel in the border of the title-page, which in the first issue identifies the engraver Cornelis de Hooghe as "Bredanus Sculpsit"--an error, de Hooghe having been born in The Hague and not Breda. In later issues, the statement is replaced with the words "Sculptor Literarum."Very soon after, Bookseller Inventory # B76825-3

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Tzara, Tristan.

Published by Zürich (Collection Dada/ Imprimerie J. Heuberger) (1916)

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Item Description: Zürich (Collection Dada/ Imprimerie J. Heuberger), 1916. (16)pp. 8 original color linocuts, of which 6 full-page in teal blue and black, and 2 other in black (front cover and cul-de-lampe illustration), printed on uncut fine laid paper. Image size: 170 x 90 mm. (6 3/4 x 3 1/2 inches). Sm. 4to. Orig. grey wraps., with handcut typography on front cover, reproduced from a woodcut design by Janco. Dated 28 July 1916 in the justification, this is the first publication of the Collection Dada and possibly the first Dada imprint; it is also the first book of Tristan Tzara, then nineteen years old. Mr. Antipyrine takes his name from a now forgotten patent medicine which Tzara found helpful for his migraines (and not, as is sometimes said, from a type of fire extinguisher). Its contents contain a selection of his early verse, African chants, and the first Dada manifesto, included by Tzara under his own name rather than that of one of his characters ("Dada est notre intensité. Dada est l’art sans pantouffles ni parallèle."). Wraps. lightly worn, with a few nearly indetectible expert mends. An historic early presentation copy, inscribed by both Tzara and Janco on the inner front cover:"Sympathie + affection/ Tristan Tzara/ [flower]/ Zürich I/ Fraumünsterstrasse 21/ Centralhof/ [flower] (the foregoing in turquoise ink, and all but the first line in capitals);"Considération/ Marcel Janco" (in black ink, adjacent). The text also contains, on the recto of f. 7, two autograph corrections in black ink, in the hand of either Janco or Heuberger, the printer.Tzara's address here is at the Pension Altinger, where he shared lodging with Janco, who was then enrolled at the Technische Hochschule. By 1918, Tzara had moved to the Hotel Limmatquai. Bookseller Inventory # B06606-4

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BRY, JAN THEODOR DE & BRY, JAN ISRAEL DE.

Published by Francfordij (Io. Theodorum et Io. Israelem de Bry) (1596)

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Item Description: Francfordij (Io. Theodorum et Io. Israelem de Bry), 1596. 6ff. including fully engraved dec. title, and letterpress text (including dedication with large engraved design), and 51 engraved plates (including a repeat of the dedication engraving with no surrounding letterpress, and a decorated alphabet arranged two letters to the plate on 12 plates; lacking plate N1). Fine modern marbled boards, 3/4 brown morocco gilt. Slipcase case (cloth, edged in morocco). First edition, published simultaneously with a German-language issue ("Alphabeten, und aller art Characteren."). The alphabet plates include representations of Chaldaean, Syriac, Hebrew, Coptic, Arabic, Samaritan, Greek, Illyrian, Croatian, Armenian, and Roman, among others, many of these in several different varieties, as well as national varieties of lettering styles--German, Flemish, French, and other--also demonstrating upper and lower cases and styles of script. Following these are 12 plates with an alphabet of 24 elaborate Mannerist initial letters by the de Bry brothers, exquisitely ornamented with lions, horses, unicorns, dogs, monkeys, cats, peacocks, turkeys, pelicans, owls, butterflies, beetles, spiders, bees, and a profusion of flowers, berries, and vines. The final three plates (of four published in the concluding section) include six handsome monogram devices for the brothers themselves and others, and two quatrains of verse in rebus form.This copy lacks one plate in the final series, a fine acrobatic alphabet. It includes, however, the beautiful and very elaborate dedication engraving, which is not always present--a complex wreathed monogram for Count Philip Louis II of Hanau-Münzenberg, set between elegant figures of Justice and Truth, who stride forward from columned niches bearing scales and a mirror. This engraving is also added to the letterpress dedication leaf (which in some copies is left blank in this area).Like all other copies we have seen described, this volume does not include plate A1, and it would appear that it was never present, as Becker speculates with reference to the German issue of the work. Several leaves newly mounted on stubs, lower right corner of final plate renewed in blank margin; title with expertly mended clean tear and one small abrasion at platemark; generally a fine, clean copy. Bookseller Inventory # B104692-1

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Pope, Arthur Upham & Ackermann, Phyllis (editors).

Published by London/ New York (Oxford University Press), 1938-1939. (1939)

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Item Description: London/ New York (Oxford University Press), 1938-1939., 1939. 10 vols., as follows:I-III. Text 2,817pp., 1 lrg. folding map. 967 text illus.IV-IX: Plates. 1,482 collotype plates (partly in color), printed on rectos only, loose in 6 portfolios, as issued.[X]: Edition de luxe: Extra Colour Plates. 4 color plates (1 double-page) of Persian rugs, printed on fine laid paper, loose in portfolio, as issued. Lrg. folio. Stout folio. Tan cloth, 3/4 black morocco. The very rare edition de luxe of the original edition, reputedly limited to 150 copies, with all plates printed on rectos only and loose in 6 portfolios; the spectacular collotype plates were replaced by halftones in the later, reduced reissues. Bookseller Inventory # B105193-1

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La Fontaine [Jean de].

Published by Paris (Desaint & Saillant/ Durand), 1755-1759. (1759)

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Item Description: Paris (Desaint & Saillant/ Durand), 1755-1759., 1759. 4 vols. I: (2), xxx, xviii, 124pp. II: (2), ii, 135, (1)pp. III: (2), iv, 146pp. IV: (2), ii, 188pp. Frontispiece and 275 full-page plates hors texte, after Jean-Baptiste Oudry by Charles-Nicolas Cochin, engraved by Cochin himself, Aliamet, Aubert, Aveline, Baquoy, Beauvarlet, Cars, Choffard, Dupuis, Flipart, Galimard, Le Mire, Moitte, Radigues, Surugue, Tardieu, Teucher, and numerous others. Bound in the first volume, the portrait of Oudry by Tardieu after Largillière ("found in some copies but not integral" per Ray). 421 x 285 mm. (ca. 16 1/2 x 11 1/8 inches). Folio. Contemporary full mottled calf, the spines gilt in 7 compartments. A.e.g. We quote at length from David Becker’s remarks in Regency to Empire on the history of the work: "Oudry began a series of drawings to illustrate the fables of La Fontaine around 1729, more than twenty-five years before their publication in this lavish four-volume set. They were executed during the artist’s leisure hours away from his duties as painter for the royal tapestry works at Beauvais. He made a total of 275 designs for the fables, all of which were engraved for the book. The original drawings are often signed and dated, ranging as late as 1734, with a frontispiece added in 1752. It was not until 1751 when the complete set of drawings for the project was acquired by the financier Montenault that their publication was undertaken. While securing a team of no fewer than forty-two engravers, Montenault also commissioned Charles-Nicolas Cochin fils to redraw Oudry’s designs, because their technique was deemed too free and loose for the engravers to follow. Cochin drew his more precise designs in the same format as Oudry’s, and the subsequent engravings were also executed in the same size. Several of the finished engravings were exhibited in the 1753 Salon, and the first three volumes of the book were published in 1755 and 1756. A royal grant enabled the final volume to appear in 1759 after the publishers encountered financial difficulties. The volumes were printed in a very grand format, among the largest of any illustrated book of the time save for certain royal festival books. Three different sizes and types of paper were used for the text and the plates, with two grander formats issued in one hundred copies each. Oudry’s full-page plates were embellished with borders and titles, and the flower painter Jean-Jacques Bachelier (1724-1806) was commissioned to design decorative tailpieces to fill in the spaces at the end of each fable. His ornamental, rustic designs were engraved on wood by Jean-Michel Papillon (1698-1776) and Nicolas Le Sueur (1691-1764). These decorations often serve to counterbalance the complexity of the engraved plates opposite and are sometimes allegorical in nature. In fact, P.P. Choffard issued a suite of metal-engraved copies of these tailpieces soon after their initial publication (ca. 1760)." Though much of the attention to the work throughout the centuries has naturally been focused on the imaginative brilliance of Oudry’s animal narratives, Gordon N. Ray has perceptively observed that "The appeal that La Fontaine made to Oudry was at least as much in the open-air settings of his Fables as in the doings of his animal actors. Indeed, it has been shown that Oudry led a campaign to replace conventional landscape painting with the picturesque rendering of country scenes based on direct observation. So it came about that Oudry’s best designs are often those in which the presence of animals is subordinated, sometimes, as with the frogs of fable LXV or the crayfish of fable CCXXII, presenting creatures so tiny as to be barely noticeable. In the foreground are farmyards, roads, gardens, or meadows, in the background towns, rivers, valleys and hills, these last often of fantastic configuration. Never before had the French countryside been so comprehensively presented. Indeed, one has to go to the albums of views that marked the emergence in the latter part of the century. Bookseller Inventory # B06768-3

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LEWITT, SOL.

Published by New York (Parasol Press Ltd.) (1973)

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Item Description: New York (Parasol Press Ltd.), 1973. (4)ff., 28 original etchings, each initialled in pencil by the artist on the verso, printed on Rives BFK. 270 x 270 mm. (10 5/8 x 10 5/8 inches). Tissue guards. Lrg. sq. 4to. (285 x 285). White silk over boards, stamped in black. Paper slipcase (slightly abraded). Edition limited in all to 25 copies and 10 artist’s proofs, signed and numbered by Lewitt in pencil in the center of the last leaf. Printed by Kathan Brown at the Crown Point Press, Oakland. "Departing from his other offset-printed books, LeWitt’s Crown Point books are beautifully hand printed and bound. ‘Grids.’ holds twenty-eight full page etchings. The progressions are listed first, from combination number one (‘Straight/Straight’) through number twenty-eight (‘Straight, Not-Straight, Broken/Straight, Not-Straight, Broken’). The cut of the etched lines into the soft paper (the lines which at first glance appear straight, and then on closer inspection reveal their freely drawn character), produce a vital page design and pleasurable viewing experience. A hand printed and bound LeWitt exerts a stronger sense of weight and permanence that creates a bridge between the intuitive idea guiding his books, and a stronger, more engaging contact sustained by the viewer while paging through LeWitt’s system" (Minneapolis). A fine copy. Bookseller Inventory # B70925-2

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FOSSATI, GIORGIO.

Published by Venezia (Carlo Pecora) (1744)

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Item Description: Venezia (Carlo Pecora), 1744. 6 vols., bound in 2. (12), 44, (8)pp.; (8), 48, (8)pp.; (8), 76pp.; (8), 59, (1)pp.; (8), 59, (1)pp.; (8), 36pp. 216 engraved plates hors texte throughout (versos blank). Engraved title-page borders (Vol. I), engraved title-page vignettes (Vols. II-VI), 3 engraved culs-de-lampe (1 repeat), Woodcut lettrines. Each volume with separate titles in parallel Italian and French (the French preceding). Lrg. 4to. Contemporary vellum. Parallel texts in Italian and French. The Swiss-born Fossati (1705-1785) had a dual career in Venice as a practicing architect, responsible for the façade of the Scuola di San Rocco, and for designs for the theatre and prestigious festivities, and as the editor, translator and illustrator of a number of classic treatises on art and architecture. This elaborately illustrated edition of fables, regarded as his most important work, clearly evinces a flair for architecture in the best of its compositions. Keenly interested in printmaking, he was noted for his experiments with multi-colored inks. In some copies of this edition, some or all of the illustrations were printed in a variety of colors; in this one, the plate for Fable 18 in Vol. 3 is printed in pale grey-green, and the title-page vignettes for Vol. 6 in sepia. Expert mend to vellum at front hinge of Vol. I. Ex-libris Case Memorial Library, Hartford Seminary Foundation (with stamp and discreet blindstamp); Peter A. Wick. Bookseller Inventory # B76939-1

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Mitelli, Giuseppe Maria.

Published by Bologna, 1683 [?]. (1683)

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Item Description: Bologna, 1683 [?]., 1683. Etched title-page, etched preface, 23 etched plates, signed "G.M. Mitelli I. e F." at lower left, printed on buff-colored heavy laid stock with "Panzano" watermark. Lrg. 4to. Marbled boards. Slipcase. An alphabet (omitting J, U, W) of letters formed from human or mythological figures, in a range of postures and activities, sometimes fantastical (three satyrs leaning on staves: M), sometimes mundane (a servant bearing a fish on a salver: E). In the margins of each are facial elements and other parts of the body intended as models for drawing; above most letters is an animal or bird whose name begins with the letter. Each plate is accompanied by a rhymed tercet below the margin. The preface, "A suoi scolari," is enframed by drawing tools: pens of various types with an ink bottle, a straight-edge, and a compass. "E il capolavoro del Mitelli" (Bonacini).The date of issue of the book may be open to question. The Getty copy, which conforms to this one in its watermark and other details, is dated "1683 [i.e. 17--?]." Altogether three copies in the US are recorded in OCLC, RLIN, and NUC together, at the Houghton Library, New York Public, and the Getty. The prints are in beautiful, clear impressions, with plate tone. Intermittent wear and soiling, the plates mounted on heavy stubs in the binding; portions of the margins renewed or reinforced. Bookseller Inventory # B75893-1

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GREENE-MERCIER, MARIE ZOE.

Published by [Chicago, 1953]. (1953)

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Item Description: [Chicago, 1953]., 1953. Collage of cut colored wove papers and woven cloth cord, mounted on four layered planes of glass, signed "Marie Zoe Greene" in black ink on the glass at lower right. 600 x 495 mm. (23 1/2 x 19 1/2 inches). Original massive wood frame. An important abstract collage construction in glass and colored paper by Greene-Mercier, one of Moholy-Nagy's first students at the New Bauhaus in Chicago. Dating from 1953, "Collage Seventeen" was one of twenty "polyplane collages," which represent a breakthrough of sorts in her work, and a fascinating chapter in postwar modernist abstraction. The series occupied Greene-Mercier for a decade. On its completion, the complete series was given an exhibition at the Art Institute of Chicago in March-April 1955, at the invitation of Carl O. Schniewind, in the Department of Prints and Drawings.We quote at length from an article by Lloyd C. Engelbrecht on "Marie-Zoe Greene-Mercier: The Polyplane Collages," which appeared in "Art International" in 1978:"Marie-Zoe Greene-Mercier is best known for her grandly-scaled monumental sculpture, such as the two French Government commissions at Barcarès and Arras. Less well known is a series of collages in which she explored the spatial relationships created by separating paper and other materials by multiple panes of glass, which she has named 'polyplane collages.'"There are twenty of these collages in all, the earliest dating from 1946. The first ten to be completed were exhibited on numerous occasions as individual works, and all twenty were shown as a group in the Art Institute of Chicago in 1955. Although some were shown again as a group in the following two years in the same city, since 1957 only a few have been exhibited, at infrequent intervals. With the patina of time acquired in the last twenty years they now seem to be part of a whole, much like a musical suite in which the individual movements each make their statement, at the same time complementing one another."Greene-Mercier first turned to collage in 1945, when she made a series of three collages using the 'traditional' methods involving pieces of paper and glue. She soon yielded to the sculptor's fascination with construction in space and began to experiment with panes of glass, which she inserted between the pieces of paper. The twenty collages with panes of glass were the result, and since they followed the three without glass, she numbered them from four to twenty-three. The first two were made with three panes of glass, and the rest with four panes. Paper was pressed, and patterned Japanese paper, burlap, thread, string and rope were used as well. The panes of glass are bound tightly together with tape, and the glass is set flush with the other materials except in those collages in which parts of the glass panes were cut away for the artist by a master glass cutter ."Each collage makes a statement in the Constructivist idiom, and the forms suspended in orthogonally defined space go back to the origins of Constructivism; Malevich exhibited a black square hovering over a white ground in 1915. What Greene-Mercier has accomplished is to articulate orthogonally defined space in a new way, although employing traditional materials. (She once remarked that she rejected the idea of using plexiglass because she was attracted to the long tradition of glass as a material for artists.)"Born in 1911, Greene-Mercier first came to Chicago in 1933, shortly after graduating from Radcliffe, and was involved in Constructivist art in Chicago from the time of her arrival. In 1934 she assisted James Johnson Sweeney with an exhibition of abstract art at the University of Chicago which included the first showing of paintings by Mondrian in the city. At the New Bauhaus she studied with Archipenko and Gyorgy Kepes, as well as with Moholy-Nagy. One of her polyplane collages, "Collage Eight" (1946), was included in the exhibition "Abstract and Surrealist American Art" at the Art Institute of Chicago in 1947. Her successful. Bookseller Inventory # B97936-1

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Item Description: New York (Parasol Press Ltd.), 1973. Title/colophon leaf, and 7 original etchings, each signed and numbered in pencil on the verso, printed on Rives BFK, loose as issued. 692 x 540 mm. (27 1/4 x 21 1/4 inches). Lrg. folio (710 x 555 mm.). Publisher’s ivory cloth box (slightly scuffed). Edition limited to 25 copies, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. Bookseller Inventory # B115786-1

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La Roche, Emanuel.

Published by München (F. Bruckmann), 1921-1922. (1922)

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Item Description: München (F. Bruckmann), 1921-1922., 1922. 6 vols. I-II: Tempel, Holzbau und Kunstgewerbe. III-IV: Moscheen und Grabmäler. V-VI: Stalaktiten, Paläste und Gärten. Vols. I, III & V: xx, x, x, 224pp., 224 plates (mostly tipped-in). 337 + 2 text illus. Folio. Vols. II, IV & VI: (12)pp., 40 plates (14 tipped-in). Lrg. folio. Marbled boards, 3/4 vellum (slightly worn). Occasional spotting, mostly of blank endpapers. Edition limited to 226 numbered copies. The extremely rare magisterial work. Bookseller Inventory # B66982-1

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KEPES, GYORGY.

Published by Boston (Vision Gallery of Photography) (1977)

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Item Description: Boston (Vision Gallery of Photography), 1977. 4ff. title (printed in red and black), introduction, table and colophon. 12 original gelatin silver print photographs, each signed in full and dated in pencil by Kepes, and each numbered, on the verso, and each archivally mounted in passepartout mats. Image sizes vary, but all are printed on silver paper measuring ca. 8 x 10 inches (ca. 250 x 200 mm.). Portfolio. Publisher’s pale brown linen clamshell box, gilt. All content loose, as issued. One of 20 hand-numbered portfolios from the edition of 25 in all, including 5 artist’s proofs. Completed in March 1977, the portfolio was published by Mary Pratt of Vision Gallery, in collaboration with Nancy and Tom House; the project editor was Brent Sikkema. The photographs were printed and processed to archival standards by Chris Enos under the supervision of Gyorgy Kepes. The letterpress was designed and printed by Katy Homans.The photographs date from Kepes’s Chicago years, 1938 to 1943, with one more from Cambridge, 1948 (and Kepes has dated them using the year of their conception). They include some of his most iconic images, including "Juliet’s Shadow Caged" (1938), "Eyes" (circa 1941), "Hieroglyphic Body" (1942) and "Fluid Patterns" (1942). "These photographs encompass overtones and undertones that even the remarkably composite American population cannot decipher at once. The prints have an immediate impact indeed. Still they must be studied for further meaning. A predominating strain that strikes this one out of a his multitude of admirers is his comprehension of the fundamental calligraphy behind all art as well as language. Yet there are mirages and powerful surface tensions directed at other facets of our comprehension. This multi-leveled richness is evident as much in his paintings as in his photographic work" (Philip Hofer). A very fine copy. Complete copies are quite rare. Bookseller Inventory # B106305-1

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VOGENAUER, ERNST RUDOLF.

Published by Muenchen Pfingsten (Heinr. Graf) (1924)

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Item Description: Muenchen Pfingsten (Heinr. Graf), 1924. (4)pp. (single sheet folding), set in letterpress with title, dedication, poem by Vogenauer, and table/colophon (signed in ink by Heinrich Graf); 10 original drypoint etchings by Vogenauer, all signed in full and numbered I/X in pencil and tipped onto Bütten paper mounts blindstamped with the printer’s initials; 1 additional trial proof of the first etching, annotated and initialled in pencil. Image size varies, from 55 x 48 mm. to 130 x 70 mm. (2 1/8 x 1 7/8 inches to 5 1/4 x 2 3/4 inches). Mount size: 263 x 197 mm. (10 3/8 x 7 3/4 inches). 4to. Publisher’s original portfolio (red boards, 1/4 vellum, with asymmetrical blue paper supralibros printed in black with title and artist’s name). Vorzugsausgabe: copy no. I of X deluxe copies, from the edition of 50 in all (of which 25 were sold). The Heinrich Stinnes copy, with his ownership inscription in ink, dated July 1924, on title and on the inside cover of the portfolio, and with his collector’s mark in red at the lower left corner of the prints (as well as his discreet pencilled annotation at foot of the mounts). In his collector’s note, Stinnes records that only these first ten copies were printed before the plates were steel-faced. This extremely rare portfolio was published by Ernst Rudolf Vogenauer (1897-1969) in the year of his participation in the Bucharest avant-garde exhibition "Contimporanul," organized by the co-editors of the eponymous review, Marcel Janco and Max Hermann Maxy. Here Vogenauer’s work was shown together with the work of some fifteen other East- and West-European artists (Maxy was in charge of the West-), including Arp, Schwitters, Klee and Viking Eggeling, among others. As Jürgen Holstein and others have pointed out, Vogenauer’s drypoint etchings---proposed as an imaginary series of ex-libris designs for celebrated leftist political and cultural figures--are conceived in an ideologized Constructivist style reminiscent of the work of the Cologne "Gruppe progressiver Kunst," and at the same time are marked by a graphic delicacy quite close to that of Paul Klee. The subjects of the prints are titled as follows: 1. An Lenin. 2. Klara Zetkin. 3. Toller. 4. Szemere. 5. Lebedour. 6. Guilbeaux. 7. Nexö. 8. Holst. 9. Whitehead. 10. Siegrist. This copy includes an extra trial proof of the first drypoint--which incorporates Lenin’s famous appeal, ‘Workers of the World, Unite!’--annotated in pencil in the margins "mit diesem Papier nicht drucken" and signed with initials.Particularly compelling is the massively geometrical typography, rather in the spirit of Paul Renner and the later Weimar Bauhaus (Moholy-Nagy), which sets off the spidery elegance of the drypoints with quite unusual effectiveness. Vogenauer had studied with F.H. Ehmcke in Munich, and worked at various small presses throughout his career, running afoul of the East German state after the War for his ‘excessive formalism.’ Very fresh condition. OCLC records one copy only, at the Deutsche Nationalbibliothek. Bookseller Inventory # B105230-3

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CLERCQ, LOUIS DE.

Published by , 1859-60. (1859)

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Item Description: , 1859-60., 1859. Albumen print from a waxed paper negative (calotype). Image Size: 26.5 x 19 cm. (10.5 x 11.5 inches). "Born to a wealthy family in the north of France, Louis De Clercq [1836-1901] was a military courier for Napoleon III during the Austrian campaign of 1859. When he was sent by the Marquis de Vogüé to Latakieh in early September 1859, Louis De Clercq was twenty-three years old and already a passionate archaeologist. He was to join the geographer and explorer Emmanuel Guillaume Rey in his exploratory mission of Syria. Rey was also actively involved with photography, and it is likely that the two photographed together, and even influenced one another in their work. However, Rey’s photographs remained unknown, while De Clercq, upon his return to France, published his ‘Voyage en Orient, 1859-60,’ six extraordinary albums of photographs in five volumes, consisting of 222 plates of rare beauty as well as of scientificand archaeological interest. The area covered during De Clercq’s trip was from Syria in the north to Egypt in the south. Most of his photographs deal with the ancient architecture of the Near East, but they are of a most unusual fashion and seen as never before through a modern eye" (Perez).Though De Clercq self-published these volumes in a reported edition of 50, only about a dozen sets--both intact and broken--are known to have survived, most of them in institutional collections. Bookseller Inventory # B115899-1

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LEWITT, SOL.

Published by New York (Parasol Press Ltd.) (1975)

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Item Description: New York (Parasol Press Ltd.), 1975. Title/colophon leaf, and 6 original etchings, each signed and numbered in pencil, printed on Rives BFK, loose as issued. 608 x 507 mm. (24 x 19 7/8 inches). Tissue guards. Lrg. folio. (625 x 525 mm.). Publisher’s black cloth box. Edition limited to 25 copies and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. Bookseller Inventory # B115790-1

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MATISSE) Rouveyre, André.

Published by Paris (Éditions du Bélier) (1947)

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Item Description: Paris (Éditions du Bélier), 1947. 163, (7)pp. 12 original lithographs hors texte, of which 6 printed on white stock and 6 on grey. 6 linocut lettrines and culs-de-lampe (2 printed in red, 4 in black). 4to. Portfolio; all contents loose, as issued. Wrapper, printed in yellow pochoir with a cut-out composition designed by Matisse. Publisher’s chemise and slipcase (heavy boards, slightly rubbed). Édition de tête: one of 25 numbered copies (of 35) printed on Montval vélin à la forme and accompanied by an extra suite of the lithographs on chine, signed by Matisse and Rouveyre in the justification, from the edition of 335 in all, the remainder of which was printed on Arches. Lithographs printed by Mourlot Frères, gravures by Feuquet et Baudier.A cycle in two parts, commemorating, in poems and images, the end of a love affair between Rouveyre--shown in six portraits by Matisse--and an unnamed woman, similarly depicted in brilliantly elegant line drawings, to whom the poet had dedicated two other works in the 1930s. The lemon-yellow design of the wrapper recalls the cutouts of Matisse’s "Jazz," published in the same year. A few tiny foxmarks; a fine copy. Bookseller Inventory # B100157-1

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Schwandner, Johann Georg von.

Published by Viennæ (Ex typographeo Kaliwodiano) (1756)

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Item Description: Viennæ (Ex typographeo Kaliwodiano), 1756. Folding engraved frontis., title, (8)ff., 159 engraved plates (14 double-page; 1 large folding). Folio. Contemporary Austrian calf, the spine gilt in compartments (small chip at foot). "First and only edition. The engraver Johann Caspar Schwab (1727-ca. 1810) signed only the frontispiece (‘Calligraphia Latina’). Schwandner was the Librarian of the Imperial Library in Vienna, and wrote the short text extolling the history and value of fine calligraphy. The introduction to the 1958 facsimile edition notes that Walter Schatzki had recorded a manuscript note by Schwandner in a copy of this book stating that the elaborately decorative penwork of initials, flourishes, cartouches, and one large equestrian portrait that comprise the plates was executed by Ferdinand von Frieslaben" (Becker). Front flyleaf with early mend; a fine copy, with contemporary ownership inscription. Bookseller Inventory # B75856-1

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CLERCQ, LOUIS DE.

Published by , 1859-60. (1859)

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Item Description: , 1859-60., 1859. Albumen print from a waxed paper negative (calotype). Image Size: 26.5 x 19 cm. (10.43 x 7.48 inches). "Born to a wealthy family in the north of France, Louis De Clercq [1836-1901] was a military courier for Napoleon III during the Austrian campaign of 1859. When he was sent by the Marquis de Vogüé to Latakieh in early September 1859, Louis De Clercq was twenty-three years old and already a passionate archaeologist. He was to join the geographer and explorer Emmanuel Guillaume Rey in his exploratory mission of Syria. Rey was also actively involved with photography, and it is likely that the two photographed together, and even influenced one another in their work. However, Rey’s photographs remained unknown, while De Clercq, upon his return to France, published his ‘Voyage en Orient, 1859-60,’ six extraordinary albums of photographs in five volumes, consisting of 222 plates of rare beauty as well as of scientific and archaeological interest. The area covered during De Clercq’s trip was from Syria in the north to Egypt in the south. Most of his photographs deal with the ancient architecture of the Near East, but they are of a most unusual fashion and seen as never before through a modern eye" (Perez).Though De Clercq self-published these volumes in a reported edition of 50, only about a dozen sets--both intact and broken--are known to have survived, most of them in institutional collections. Bookseller Inventory # B115898-1

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Archaeologia.

Published by London, 1770-1993. (1993)

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From: Ars Libri, Ltd. (ABAA) (Boston, MA, U.S.A.)

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Item Description: London, 1770-1993., 1993. Vols. 1 - 99 + General Index 1-100. Lrg. 4to. Cloth (worn). Bookseller Inventory # B31353-1

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Item Description: Firenze (Velente Panizzi & Marco Peri), 1568. (6), 60, (8)ff. (misnumbered). 36 fine woodcut lettrines with pictorial and architectural views of Italian cities and landscapes. Fine woodcut title-page vignette with Medici arms. Sm. 4to. 214 x 149 mm. Eighteenth-century buff paper boards, spine label, red sprinkled edges (foot of spine slightly chipped). First edition of Cellini’s two treatises, concerning the techniques of goldsmithing and sculpture in marble and bronze, with remarks on architecture and design. These are a highly important source for the study of Florentine sculpture, with notably interesting comments on other artists’ techniques, Michelangelo’s in particular. Cellini discusses at length his difficulties in creating the bronze Perseus and Medusa, commissioned for the Loggia dei Lanzi by Cosimo de’ Medici, father of the book’s dedicatee, Cardinal Fernando de’ Medici. This first edition is the only one to contain the sonnets by Angelo Bronzino, Benedetto Varchi and others at the end, celebrating Cellini’s monumental sculpture and other works. It is also the only work by Cellini published during his lifetime--or for that matter up to the eighteenth century, the "Vita" not having been issued until 1728. A second edition of the treatises appeared in Florence in 1731, revised and rewritten in the authorized Italian of the Accademia Crusca. A little spotting, small marginal puncture in final leaf. Intermittent marginal annotations in a neat early hand. This copy with an early eighteenth-century inscription regarding the loan of the book by (or to) the Brescian goldsmith Gasparo Rossi. A fine large copy, complete with blank leaf A6. Bookseller Inventory # B111194-1

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SANDER, AUGUST)

Published by München (Schirmer Mosel) (1974)

Used Hardcover Signed

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Item Description: München (Schirmer Mosel), 1974. 1f. (colophon on board), 12 original silver print photographs, handprinted from the original glass plates on Portriga photographic paper and embossed with the artist’s seal, each tipped into heavy passepartout mount, and signed, numbered and dated by Günther Sander on the back of the mount. Photographs: ca. 290 x 210 mm. (11 1/8 x 8 1/8 inches). Mounts 547 x 447 mm. (21 1/2 x 17 1/2 inches). Lrg. folio. Publisher’s brown cloth dropdown box. One of 75 numbered copies from the limited edition of 81 in all, including 6 artist’s proofs. The photographs were printed by Günther Sander, the artist’s son and assistant. The subjects are as follows:1. The Painter Gottfried Brockmann, 1924.2. The Painter Willi Bongartz, 1924.3. The Painter Gerd Arntz, 1929.4. The Painter Anton Räderscheidt and Marta Hegemann, 1924.5. The Painter Franz Wilhelm Seiwert, 1928.6. The Dadaist Raoul Hausmann, Posing, 1930.7. The Dadaist Raoul Hausmann, Sitting, 1930.8. The Painter Heinrich Hoerle, 1929.9. The Painter Otto Dix and Wife, 1926.10. Heinrich Hoerle Painting the Boxing Champion Hein Domgörgen, 1929.11. The Painter Otto Freundlich, 1929.12. The Painter Jankel Adler, 1929. A fine copy, as issued. Bookseller Inventory # B115909-3

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Velde, Jan van den.

Published by [Haarlem] (pour M. D. V. Horenbeeck) (1621)

Used Hardcover Signed

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Item Description: [Haarlem] (pour M. D. V. Horenbeeck), 1621. Engraved title-page, 11 engraved plates by Gerardus Gauw. Lrg. 4to. Contemporary vellum over boards; author and date of publication handsomely calligraphed in ink on front cover. The "Thresor literaire" is the second of three tracts on penmanship by van de Velde which are often found bound together. The first is "Duytsche Exemplaren van alderhande Gheschrifften" (Haarlem, 1620), and the third, "Duijtscher ende Franscher scholen exemplaer-boeck" (Haarlem, n.d.). The three are known collectively by the title of the third. "Exquisitely written and skilfully engraved. The works appeared under the name of Jan van de Velde, but seem to have been executed by the publisher, David Horenbeeck, who signed himself ‘Amateur de la plume’ and also ‘writing-master in the place of Van den Velde’" (Ekström). Intermittent light wear, slight creasing at edges and corners of leaves; a fine copy. Vellum covers quite bowed. Very rare. Bookseller Inventory # B75874-1

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Rodríguez, Cristóbal.

Published by Madrid (Antonio Marin) (1738)

Used First Edition

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Item Description: Madrid (Antonio Marin), 1738. (4), xxvii ff., (72)pp., engraved title-page, 5 engraved half-titles, 123 engraved plates (2 double-page; 2 folding). 39 engraved text illus., numbered I-XXXIX. The plates, including engraved title, five half-titles, and three series printed on both sides of the leaves, are irregularly numbered: 1, 11, 33, 34, 36-38, 53-93, [94-105 not numbered, on six leaves] 106, [107-117, numbered 1-4, 1-7 on six leaves] 118-125, [126-137, numbered 1-12, on six leaves] 138-181. Folio. Contemporary Spanish mottled calf (head and foot of spine slightly split at hinges; a few scrapes). First edition of the earliest Spanish treatise on palaeography, published by order of Philip V. "Cotarelo y Mori. has some very harsh things to say about Rodriguez and his publication. Nevertheless, he is forced to concede its importance as the first work of its kind in Spain. It is typical of its period in focusing on a national hand. It is also a splendidly produced book" (Victoria and Albert). Short tears in the front flyleaf and title-page at gutter; intermittent light wear. Bookseller Inventory # B75903-1

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