An elaborate antiquarian collection containing 19 large double-page armorials, apparently of the sixteenth century of the major families of Belgium, including Beaufort, Berghes, Egmont, Hornes, Lalain, Luzembourg, St.more...
Aldegond, and including a number of members of the Order of the Golden Fleece. Each of these armorials bears detailed contemporary genealogies to their versos. These have been conserved by the British antiquary David Powell (?1772-1848) with other early genealogical material, his own notes and four large drawings of related stained glass, including a large window from the church of Notre Dame du Sablon (Brussels) and another in the hands of ‘Mr Whatson an eminent glazier Hanway Yard Oxford Street’ in 1816.
Born in Tottenham, Powell became a Lieutenant in the 14th Light Dragoons; he left a manuscript account of his 1794 experiences in Cork, Flanders and Brabant. He later entered Magdalen College, Oxford, receiving a B.C.L. in June 1805. He spent much of the rest of his life making heraldic and genealogical collections, and touring England and Wales to make watercolour sketches of churches and manor houses in over forty counties. He died in 1848, and his library was sold by Puttick & Simpson over three days. Many of Powell's manuscripts are now in the British Library. .see full details
This futuristic novel follows exploring the pros and cons of an aerial lifestyle, published in the year of Blériot’s channel crossing. The book is illustrated by Vincent, well-known for his poster art and an influential figure in the Art-Deco movement during the inter-war period. Kistemaekers, a prolific Belgian journalist and playwright, earned French citizenship in 1900 after achieving success in Paris, where he wrote plays for Theatre de Paris, Theatre du Vaudeville, Theatre de la port-Saint-Martin and Theatre la comdie-Française..see full details
First edition, with author’s inscription to Georges Bethoud, a large paper copy, one of 22 on Hollande Van Gelder (after 8 copies on japon and before 140 on vélin).more...
Goffin (1863-1934), Belgian art historian and critic, was an avowed disciple of Huysmans, Baudelaire and Poe in the last years of the century. With its beautiful Art nouveau style cover, Thyrse is an elegant collection of prose poems..see full details
FIRST EDITION, EACH OF THE THREE PARTS SIGNED AND HAND NUMBERED BY THE ARTIST, number 25 of 30 copies, each handcoloured by Madeleine Smets-Lefrancq.more...
An extraordinarily dramatic graphic interpretation of Revelation, with linocuts by the Franciscan monk and sceptic Fieullien (1903-1976), who had studied at l’Académie de Bruxelles under the Belgian painter Oswald Poreau. He worked in sculpture, stained glass and paint, but his best work was in his remarkable illustrated books, with their idiosyncratic lettering and unsettling (occasionally lurid) religious imagery..see full details
Les Villages illusoires (1895), by Belgian symbolist Verhaeren, is one of two works (the other being Les Villes tentaculaires) expressing the writer’s growing concern for social problems based on the ‘illusory character’ of human perception. The colourful etchings accompanying the text are the most significant works by Van Santen, a painter and etcher of fragile constitution, who studied under Brussels engraver Jeff Codron. Number 155 on vélin d’Arches, (after 40 copies on japon impérial, 30 on japon and 20 on différents papiers réservés. Total edition 220). This copy contains two additional proofs..see full details
This is the second edition, the first having been printed in oblong format in 1896 without the 12 additional woodcut scenes here. (Example number 91, one 75 copies on Arches, numbered 26 to 100 (there are a further 25 copies on japon nacré blanc à la cuve. Total edition 100).
The Douze Chansons are superbly interpreted in great detail here by Doudelet, an artist who began his professional career after a chance encounter with the prolific photographer Edmond Sacré, who managed to get him a job at the university of Ghent. He worked under the Bacteriologist Emile Van Ermengem, producing the immensely detailed microscopic scientific drawings. Doudelet met Maeterlinck through Louis de Busscher, son of a well-known editor, who invited him to attend a meeting with a group of young writers who wanted to create a new literary magazine. Their first artistic interactions began when Maeterlinck asked the artist to paint six mural paintings for his family chateau in 1895, then, when artist George Minne failed to deliver illustrations for Douze Chansons he asked for Doudelet to illustrate the work. Maeterlinck described the work as ‘un chef-d’oeuvre tout court; synchronisation, harmonie parfaite entre le poète et les images creées par son intreprète’.