An exceptionally rare illustrated magazine of popular arts for women and young people.more...
It includes instructions for arts and crafts including painting (especially botanical and entomological), lettering, embroidery, woolwork, lacquer, ceramics, bookbinding, découpage, and artificial fruit and flowers. It includes details of suppliers.
It was issued serially, probably in 4 leaf gatherings with one or more plates, weekly or fortnightly. Exceptionally rare, we have been able to locate two copies outside France: National Art Library (V&A) and Cooper Hewitt Museum (NY). Our copy contains issues from the first running to c. 1835 and breaks off part way through an article on artificial flowers. Each issue evidently was of strictly 4 leaves regardless of the length of the final article, which was resumed in the following issue. The V&A copy contains several more issues and breaks off mid-article at p. 224 and has 72 plates. It also contains a few fragments of printed pink wrappers in which each issue appeared.
A rare Milton sequence drawn and engraved by Sophia Giacomelli (sometimes called Madame Chomel), who was both an accomplished graphic artist and popular singer.more...
She worked in the fashionable outline style derived from Flaxman, from whom she copied the 100 plates of the Dante sequence also found here. While Flaxman had always intended to illustrate Milton, he never published a Milton sequence, and Sophia Giacomelli’s 12 plates for Paradise Lost can be considered largely original. It is remarkable they are so rare. COPAC lists no UK copies (unless they are also bound with copies of the Dante and not noted by cataloguers).
Very little is known of this remarkable female engraver. The Journal des arts, des sciences, et de littérature reviewed her Milton collection in 1813:
‘...les amateurs conviendront sans peine que la collection des douze figures de Mme Giacomelli est une des productions les plus agréables que la gravure nous ait offertes depuis long-temps. Nous vivons dans un siècle où les femmes ont conquis, dans la littérature, le rang le plus distingué: il suffit de jeter les yeux sur cet ouvrage, pour s’apercevoir que le domaine des arts ne leur est pas non plus étranger. Déjà le dessin et la gravure ont mérité à Mme Giacomelli d’honorable suffrages; son talent comme cantatrice avait avantageusement brillé dans plusieurs concerts...’ (vol. 15, p. 62)..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
A collection of homoerotic lithographs by Jean Boullet, an iconic gay artist who proclaimed himself simply as a ‘painter of masculine beauty,’ which is precisely what he does here in these illustrations. One of 467 copies on Vélin de Lana, (there are a further 33 examples on Vélin d’Arches, with drawing, total edition 500)..see full details
FIRST EDITION, this copy for Docteur Maurice Roulland, one of 170 copies on vélin de Rives.more...
A compilation of poems by Verhaeren, wonderfully illustrated by Costea, who uses loose blotches and splatters of colour to form soft, ambiguous figures. He studied at the École des Beaux Arts and exhibited his work in France, San Francisco, Cologne and Brussels..see full details
A collection of poems by Cocteau handwritten by Rémon, who has also decorated the book with a series of black ink drawings by brush. The artist illustrated many published books, such as La Symphonie Pastorale by Gide, Marie du Port by Simenon and Les Paysages ensorcelés by Barbey d’Aurevilly. His favourite subject was the sea and he spent much of his time working in unusual places (including the Paris RER, and aboard ocean liners)..see full details
Number XIV of 20 hors commerce copies (there were a further 10 copies on japon impérial, 50 on Hollande Van Gelder, 100 on vélin d’Arches). A brilliant collection of drawings by Cocteau for Les Enfants terribles, created five years after the novel was first published and made quickly, resembling a form of a kind of graphic note taking..see full details
An astrological jeu d’ésprit published by Régny (pseudonym of Madame Balouzet Tillard de Tigny), the renowned tennis player-turned-designer who specialised in fashionable sportswear in the 1920’s. Number 285 of 1100 copies, some copies had hand-coloured frontispieces..see full details
A fascinating publisher’s file containing trial impressions of Cappiello’s illustrations engraved by René Lorrain for their edition of La Princesse de Babylone.more...
Each plate appears in several states, single colours and combinations, and some appear in trial states marked up in manuscript. Together with one original copper plate the file provides a very useful record of the many processes required for a complex sequence of colour illustrations for an edition limited to just 40 copies. Notable throughout is the use of the registration pins evident on the copper plate and in the margins of each plate, allowing for absolute precision in the successive impressions. Javal et Bordeaux printed numerous large format illustrated editions at this time, characterised by their superbly realised colour plates reproducing the particular quality of gouache and pastel originals.see full details
The graphic chef d’oeuvre of the Czech poet, artist and Catholic mystic, inscribed by the artist to photographer Georges Joniaux, 5 January, 1967.more...
Job appears to be none other than Reynek himself in his farmstead confiscated by the Communists in 1949, after which his works were proscribed and destroyed, on account of his deep Christian faith. He later became a hero to the poets of the Prague Spring, but died in poverty in 1971..see full details
First edition, very rare, of the earliest book to include illustrations by the adolescent Edmund Dulac, who went on to become one of the most succesful book illustrators of all time.more...
He contributed six decorative initials here (the other 6 contributed by Elie Clavel). Published in Toulouse, where Dulac had been born in 1882. He moved to Paris briefly in 1904, before establishing himself in London in 1905..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
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
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
The author, Carlo Fuccaro or Foccaro (he signs both ways), thanks the unnamed recipient for sending acacia seeds and dried flowers of anemone and apologises for the delay in the response, caused by the time needed to paint the tulips attached to the letter.more...
He asks his correspondent which flowers he can send to him among the portrayed tulips, a white Peruvian hyacinth [tulip], of which he has only one plant, or another type of hyacinth that will be available for the autumn. While these two hyacinths do not appear among the surviving watercolours here, the five extant slips are doubtless remnants of the original group sent, folded as they are to fit snugly with the folds of the letter.
It is a document of considerable interest that shows the exchange of botanical material in early seventeenth-century Europe, the era of ‘Tulipomania’.
Among the papers by Johannes Faber (Bamberg, 1574-Rome, September 17, 1629), a pupil of Cisalpino and director of the Pontifical Botanical Garden (held by the Accademia dei Lincei and Corsiniana), are letters by Faber concerning a flower exchange between Fuccaro and a certain Alessandro Rondanini. One in particular reports: ‘Flowers requested by Mr. Rondinini from Mr. Carlo Fuccaro’, [Rome] 25 October 1619 (see A. Mercantini, Inventory of the Johannes Faber Fund of the Biblioteca dell’Accademia Nazionale dei Lincei and Corsiniana, 2013, p.24, available online: http: //www.lincei. en / files / archive / Archivio_Faber_12-2014.pdf). In the same document the Fuccaro is also called, ‘Fuggerus’; Fuccaro or Foccaro is likely to be an Italianization of the Fugger surname, and the author is almost certain to be identified with Karl Fugger, Graf von Kirchberg and Weißenhorn (died 1642), dean of the Salzburg Cathedral..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
Novelist Nodier spent 50 days travelling the length of Britain to Scotland, where he took in Edinburgh, Glasgow, Dumbarton, Loch Lomond, Loch Katrine and Loch Long and was impressed by the romantic and gothic aspects of landscape and architecture. In England he had visited Brighton, London, Richmond and Oxford taking in sights and museums. He was probably the first (of many) Frenchmen to take notice of the paintings of John Constable, having seen the The Hay Wain at the 1821 academy exhibition, including a rhapsodic report here (pp. 84-9)..see full details
First edition, one of 100 copies on vergé d’Arches with plates in three states (of a total edition of 500).more...
A biographical study of the famous military transvestite, Ida St-Elme who served as a man in the French Imperial armies. It is based on her autobiography Mémoires d'une contemporaine (1829). This is rather atypical of Carrington’s productions—the quality of typography and illustration far higher than that of his more surreptitious erotic publications..see full details