Metz was in important centre for of popular publishing, its prodigious output in the early nineteenth century meriting the general term: ‘Imagerie Messine’.more...
Jules Chaste, whose name appears on the cover of this untitled picture panorama, is known for his vivid colouration with gold highlights, both surviving in this ogre tale with exceptional freshness..see full details
A SUPERB BOOK OF THE DEAD BY AN IMPORTANT TRANSGENDER ARTIST, habitually addressed by his friend Picasso as ‘Monsieur Madame’. A spectacular large-format engraved book—the text being burin engraved throughout by Anton Prinner. The text is drawn from the translation by Pierret after the Turin papyrus. It was published with the assistance of Robert J. Godet, who died shortly afterwards: Prinner signs on his behalf ‘pour J. Godet +’.
‘Anton Prinner, who was probably born Anna Prinner but lived as a man throughout his life, studied painting at the Budapest school of fine arts in 1920 and went to Paris in 1928. He then gave up painting for a while and studied occult sciences, esoteric doctrines and mystical philosophies... During the wartime German occupation of France, Prinner went into hiding, living in a squalid garret... He was an intriguing and enigmatic character, who lived a solitary and reclusive life, and the chronology of some stages of his work and life remains obscure.
When Prinner resumed painting in 1932 after his occult studies, he was much influenced by Mondrian's Neo-Plasticism and by Russian Constructivism. At that time, he also learned print-making, working in Atelier 17 in Paris with Stanley William Hayter. After his Constructivist period, which lasted from 1932 to 1937, he worked on low relief and then high relief sculpture, a medium always favoured by Constructivist artists. At some time, perhaps around 1939, he took up sculpture in the round, producing Woman with Braid. The technique of sculpture, or rather its internal logic, brought Prinner back to Figurative art.
During the German occupation, hidden away in his garret, Prinner devoted himself to drawing meticulous still-lifes of everyday objects in pen and ink. When he returned to sculpture, it was with the intention of creating works that would mediate with the occult forces which had preoccupied him... The composite creatures that emerge from his personal or esoteric obsessions, with their suggestions of aberrant nature, can also recall the work of Jean Arp.
From 1947 to 1949, Prinner worked on 66 etchings and dry-point illustrations for the Egyptian Book of the Dead, as well as a series of low reliefs on the same theme, which he exhibited in 1948...
Prinner took part in the exhibition The Avant-garde in Hungary, 1910-1930 (L’Avant-garde en Hongrie 1910-1930), which was held in the Galerie Franka Berndt, Paris, in 1984. He had two other exhibitions on returning to Paris from Vallauris, in 1965 and 1969’ (Benezit).
Number 133 of 200 copies on Rives Royal, (there were a further 10 examples on Japon séculaire, with an original drawing, 7 for collaborators on papiers divers. Total edition 217). .see full details
Depicting the whole of the Norman Bayeux Tapestry of the Battle of Hastings, this scroll was made c.more...
1870 from the hand-coloured engraved plates published by the Society of Antiquaries between 23 Apr. 1821 and 1 July 1823. The plates have been carefully dissected and laid to linen backing, edge to edge, allowing the narrative of the tapestry to be followed along the sixty eight feet (or twenty metres) of the scroll.
‘Stothard’s was the first detailed record of the tapestry since Abbé Montfauçon’s drawings of 1730, postdating the damage done at the French Revolution and predating the first recorded major restoration of 1842. Stothard’s drawings were both detailed and accurate; he even counted the stitch holes where threads were missing and recorded any traces of colour he found there. The evidence supplied by these drawings assisted in subsequent restorations of the tapestry itself. The drawings took two years to complete and were later engraved by J. Basire; they were published between 1821 and 1823 in the society’s Vetusta monumenta (vol. 6, plates 1–17).
Stothard’s trip to Bayeux with his wife Eliza in 1816 to make the watercolour copy for the Society of Antiquaries caused a furore, not because Stothard made a copy, but because when the Stothards left it emerged that a shield-shaped scrap of fabric had been snipped from the border of the tapestry, probably by Charles or Eliza, as a souvenir..see full details
A rare Revolutionary-era educational catechism for elementary school pupils, designed to inculcate a semi-religious sense of revolutionary values.more...
It was first published in 1794 and several times reprinted. This rare edition is significant as an imprint (the second of two) issued by Pierre Samuel du Pont de Nemours, styled ‘imprimeur-libraire’ here. Soon after publication Du Pont’s house was sacked by a mob during the 18 Fructidor V coup. He emigrated to the United States in 1799 hoping to establish a model community of exiles, and fostered his connections with statesmen such as Jefferson. Progenitor of one of America’s most successful and wealthiest business dynasties, he died in America in 1817,
The pupil is asked:
‘Qui êtes-vous? ...Homme libre, français, républicain par choix...’
A rare Edinburgh chapbook: this copy unbound or stitched allowing it to be unfolded to its full extent, i.more...
e. a single sheet (c. 420 × 420 mm) printed both sides, demonstrating the imposition and folding method of a duodecimo gathering with 12 pages per side. An invaluable bibliographical teaching tool: duodecimorigami..see full details
Pope Joan was a card game popular in both the eighteenth and nineteenth centuries, the name a corruption of the French Nain jaune, the original form of the game.more...
Though widely played before 1800 its first published rules appeared in Hoyle's Games edition of 1814, with the ‘staking board’ having eight compartments labelled: Ace, King, Queen, Jack, Game, Pope, Matrimony and Intrigue. Each player receives a number of counters, or chips, whose value is determined by the players involved in the game. The 8 of diamonds is then removed from the pack to form a ‘stop sequence’. The aim of the game is to run out of cards before anyone else.
The game features in Humphreys’ famous satirical print of 1796, ‘Lady Godina’s Rout’ depicting the Lady Georgiana Gordon, Duchess of Bedford at play in a state of dishabillée, while Dickens portrays it as a wholly innocuous family parlour game in the Pickwick Papers and his Life and Times..see full details
One of the most spectacular fruits of nineteenth-century Medievalism, with its elaborate chromolithograph interpretations of illuminated manuscripts, many with gold and silver inks. The text volume additionally contains a sequence of original photographic reproductions of prints by Wierix. Issued as a series of 70 individual numbers, the pagination of the plate volumes is very erratic, with numerous additional plates outside the main sequence and with some leaves having plates on both sides, others on just one. The appendix provides an historical and bibliographical key to the plates, listing manuscripts in mainly French and Italian libraries..see full details
First edition, dedication copy, inscribed by the author to ‘The Queen’, that is, the Jacobite claimant of the British Crown, Maria Theresa of Austria-Este (1849-1919).more...
Theodore Napier (1845-1924), Australian-born of Scottish emigrant parentage, became one of the most colourful Scottish patriots and advocates of the Jacobite succession. Adopting full Highland dress and sporting an extravagant white beard he raised eyebrows in Melbourne and Edinburgh alike and he issued a stream of pamphlets advocating Scottish home rule and the Jacobite succession. The frontispiece here depicts Maria Theresa, with the caption: ‘Who, but for the Act of Settlement, would now be reigning as Queen Mary III. of Scotland, and IV. of England and Ireland.’ The pamphlet was issued as number 17 of the publications of the Legitimist Jacobite League of Great Britain and Ireland, but appears here as an offprint (without reference to the series) on thick paper.
Maria Theresa was the niece and heir of the childless Francis V, Duke of Modena who had been, at the time of his death, the Jacobite heir-general to the thrones of England, Scotland and Ireland; as such, she became the heir after his death in 1875. Neither she, nor any of her Jacobite forebears since 1807, ever seriously pursued this claim..see full details
A superb fashion album from the year of the Paris siege, with a great variety of dated designs showing the vogue for dresses emphasising a narrow figure with low sloping shoulders and skirts gathered extravagantly at the back with ribbons, tapes, ruches and ruffles.more...
Outdoor and walking dresses, evening dresses, hairstyles, headresses, veils, parasols, nightgowns, shoes and coats. Colours, especially for outdoor wear, tend towards darker palettes with deep greens, mauves and black in abundance.
Despite the Franco-Prussian war and the advance of the Germans on Paris, the city remained at the centre of the fashion world. The military realities of the Paris siege of that year impinge with one image of a rifleman (franc-tireur) of the Légion de la Seine (dated 25 August 1870) and the styles for 1871 exhibiting occasional military references with square cut coat pockets, brocades and frogging..see full details
Edward Jacob ‘antiquary and naturalist, was born in Canterbury, the eldest son of Edward Jacob (d. 1756), surgeon and alderman, who served as mayor of Canterbury in 1727–8, and Jane, daughter of Strangford Violl, vicar of Upminster. About 1735 he moved to Feversham [sic] where he lived at 78 Preston Street and practised as a surgeon, following in his father's and grandfather's footsteps. Among his patients was Lord Sondes of Lees Court, Sheldwich. The Jacobs were a long-established east Kent family and several members had served as mayors and magistrates in Sandwich and Dover. Actively interested in local affairs, Jacob was four times mayor of Faversham—in 1749, 1754, 1765, and 1775...
Jacob interested himself in the history of Faversham soon after he had moved there, ‘having an early propensity to the study of antiquities’. He was elected a fellow of the Society of Antiquaries on 5 June 1755, and in 1774 published The History of the Town and Port of Faversham, dedicated to Lord Sondes’ (Oxford DNB).
This is one of the standard copies with 15 plates, some having an 4 additional plates..see full details
Royalist conter-revolutionary journalist Pitou was arrested no less than 18 times during the revolutionary period before being deported to Cayenne for his royalist sympathies. L’Urne des Stuarts et des Bourbons was written on his escape and return to France..see full details
This little account of the life of Mary Queen of Scots is dedicated (in very indifferent English) by its author to Victor and Adelaide Seymour, a Scottish couple incarcerated in Paris during the Terror. The plates are engraved by the author..see full details
A very rare translation of the pseudonymous Siege of London (1885), probably the first edition in French (a condensed French edition also appeared in 1885).more...
An excellent example of the many British speculative novels spawned by the fear of invasion, from the 1871 Siege of Dorking to Erskine Childers’s Riddle of the Sands (1903). In Posteritas’ account, the invasion is set against the background of a collapsed Gladstone Liberal government and crisis in the Middle East. The French invade via Portsmouth and later Dover and Scotland, with the aid of the perfidious Irish, and the novel culminates with the bombardment of Westminster and the Battle of Hyde Park..see full details
First edition of this history of England (or more properly, Britain) from ancient times to the era of the American Revolution.more...
The third volume, not alwayes present is especially detailed as an account of the British colonial exploits on the American continent and elsewhere. David’s illustrations are characteristically dramatic. The text of the first two volumes (dated 1784) is by Pierre Le Tourneur and Guillaume Germaine Guyot, and of the latter (dated 1800) by Jean Baptiste Gabriel Marie Milcent..see full details
First edition of Le Tourneur’s monumental translation, instrumental in securing Shakespeare’s reputation in France.more...
Preceded only by La Place’s pioneering but partial translations (1745-49) and by some individual translations by Voltaire and Ducis, Le Tourneur’s is the first attempt at the complete works. Inspired by the 1769 Shakespeare Jubilee, Le Tourneur prefaces the collection with a long account of the Stratford celebrations presided over by David Garrick (taken without acknowledgement from Benjamin Victor’s History of the Theatres of London, 1771) and with a biography drawn mainly from Rowe. There is also an important critical essay using materials from Rowe, Pope, Theobald, Hanmer, Johnson and Sewell. The extensive subscribers’ lists (a second lists new subscribers since the start of publication) contains prominent names in both France and England.
The story of Shakespeare’s slow acceptance in France, in the face of prevailing classicism, is well known — Le Tourneur’s translations were the first to allow French readers to make their own judgements and they perfectly reflect the transition from classicism to romanticism in French culture. Indeed, the preface is considered to contain the very first printed appearance of the word ‘romantique’ in the French language, with Le Tourneur referring to the suitably romantic prospect of a clouded landscape and then stressing the need for both the word and the concept in French.
The edition provoked the ire of the ageing Voltaire (always ambivalent to Shakespeare) who on receiving the first volume wrote in a letter to friend: ‘I must tell you how upset I am for the honour of the theatre, against a certain Tourneur, who is said to be Secretary of [La Librairie], but who does not seem to me the Secretary of Good taste. Have you read two volumes by this miserable fellow, in which he wants to make us all treat Shakespeare as the only model of true tragedy?... What is frightful is that this monster had a following in France; and the height of calamity and horror is that it was I who was once the first to speak of this Shakespeare, it was I who was the first to show the French some pearls that I discovered in his enormous dung-heap’ (translated by Davidson, Voltaire: a life, 2010, p. 439)..see full details