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  • Shakespeare’s Cotswolds [13 Scenes of Country Life painted for the Shakespeare Exhibition 1564-1964. by (SHAKESPEARE). HUGO, Jean. (SHAKESPEARE). HUGO, Jean. ~ Shakespeare’s Cotswolds [13 Scenes of Country Life painted for the Shakespeare Exhibition 1564-1964. London and Bradford: Lund Humphries for W. H. Smith and Son [1964].
    Sole edition, this copy signed and inscribed by the artist to Pierre Toreilles. For the Shakespeare 400 year centenary Hugo painted 13 very large panels… (more)

    Sole edition, this copy signed and inscribed by the artist to Pierre Toreilles. For the Shakespeare 400 year centenary Hugo painted 13 very large panels depicting an imagined journey of Shakespeare from Stratford to Oxford, a path the artist apparently traced on foot. His scenes comprise: Charlecote Park, Fowlers and the Red House of Tysoe, Gentry at Compton Wyngates, Mummers on the Green, Nearing Oxford, Chipping Camden Fair, The Road to Market,The Cotswold Games, Plough and Pasture, Hawking in the Stour Valley and Meon Hill.

    ‘The French artist Jean Hugo (1894-1984) produced... a set of six canvases he painted for the Shakespeare Festival Exhibition, organised by the ballet critic Richard Buckle in Stratford-upon-Avon. Opened by Prince Phillip on 23 April 1964, the exhibition celebrated the quatercentenary of Shakespeare’s birth and aimed to portray the world of Tudor England as it may have appeared to Shakespeare... Jean Hugo was born in Paris the great-grandson of the poet and novelist Victor Hugo. He was a painter, illustrator, theatre designer and author, whose artistic career spanned the 20th century and whose work brought him into contact with many of the most influential artistic figures of the 20th century including Jean Cocteau, Pablo Picasso, Paul Elouard, Francis Poulenc, Max Jacob, Cecil Beaton and many others.’ (V&A website). Not found in JISC/Libraryhub. Worldcat lists copies at National Gallery of Canada and University of Strasbourg only.

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  • Flecht-Schule. by WINCKELMANN, Leonie. WINCKELMANN, Leonie. ~ Flecht-Schule. [Germany or Austria, 1912].
    A good example of ‘Flecht-schule’ exercises for young girls, in which dexterity, accuracy, patience and creativity were encouraged through intricate pattern weaving in paper. This… (more)

    A good example of ‘Flecht-schule’ exercises for young girls, in which dexterity, accuracy, patience and creativity were encouraged through intricate pattern weaving in paper. This could be applied to the practical arts of embroidery but had been encouraged as an independent exercise. In addition to the 25 abstract designs here, the final two panels give the maker’s initials ‘L.W.’ and the date ‘1912’.

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  • Fleurs du mal... 20 illustraciones para Spleen et Idéal. by (BAUDELAIRE, Charles). DELHEZ, Victor. (BAUDELAIRE, Charles). DELHEZ, Victor. ~ Fleurs du mal... 20 illustraciones para Spleen et Idéal. Buenos Aires: Guillermo Kraft Ltda. [1930].
    Number 142 or 220 copies, signed by the author and with all plates signed in pencil. Belgian born, but spending much of his life in… (more)

    Number 142 or 220 copies, signed by the author and with all plates signed in pencil. Belgian born, but spending much of his life in Bolivia and Argentina, Delhez (1902-1985) was known for his exceptionally accomplished large-format woodcuts, often in the surrealist mould.

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  • Cary’s Traveller’s Companion, or, a Delineation of the Turnpike Roads of England and Wales; shewing the immediate Rout to every Market and Borough Town throughout the Kingdom. Laid down from the best Authorities, on a new set of County Maps, to which is added, an Alphabetical List of all the Market Towns, with the Days on which they are held. by CARY, John. CARY, John. ~ Cary’s Traveller’s Companion, or, a Delineation of the Turnpike Roads of England and Wales; shewing the immediate Rout to every Market and Borough Town throughout the Kingdom. Laid down from the best Authorities, on a new set of County Maps, to which is added, an Alphabetical List of all the Market Towns, with the Days on which they are held. London: for John Cary, 1791.
    An attractive portable atlas. A reissue of the plates of the 1790 edition, with the dates altered to ‘Sepr. 1, 1792’ on all of the… (more)

    An attractive portable atlas. A reissue of the plates of the 1790 edition, with the dates altered to ‘Sepr. 1, 1792’ on all of the maps except the map of Yorkshire. Letterpress printed by C. Rickaby, whose name appears at foot of first page.

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  • De inventoribus rerum libri tres. Noviter impressi: emendatq[ue] q[uem] dilige[n]tissime q[ui]busda[m] additis. by VERGIL, Polydore. VERGIL, Polydore. ~ De inventoribus rerum libri tres. Noviter impressi: emendatq[ue] q[uem] dilige[n]tissime q[ui]busda[m] additis. [Venice: Ioannem de Cereto de Tridino, alia Tacuinum, 22 November, 1516].
    An attractive Venetian edition by Johannes Tacuinus de Tridino, which, like the first edition of 1499 consists of the first three books on the ‘origin… (more)

    An attractive Venetian edition by Johannes Tacuinus de Tridino, which, like the first edition of 1499 consists of the first three books on the ‘origin of things’. In this encyclopaedic work, Vergil addresses questions of origins, from the origin of the gods, man and languages to the origin of wine and liqueurs, marriage, magic, medicine, poetry, drama, geography and law. It notably includes an account of the invention of printing, attributing its birth to Peter Schoeffer, rather than Gutenberg.

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  • (HUNTING). [ENGELBRECHT, Martin. ~ [A boar hunt in a miniature perspective peepshow. Augsburg: Martin Engelbrecht, c. 1730-50].
    A rare perspective peepshow depicting a boar hunt in a forest, with horses and dogs. Engelbrecht (1684-1756) produced many different designs of these sets in… (more)

    A rare perspective peepshow depicting a boar hunt in a forest, with horses and dogs. Engelbrecht (1684-1756) produced many different designs of these sets in three sizes, of which ours is an example of the smallest (and rarest). They were designed to be viewed when slotted successively into a perspective viewing box but can equally be appreciated when standing in simple slots or stands. One of the parts is marked ‘N. 87’ in the plate. In this example the prints have been mounted in the early nineteenth-century. cf. Ralph Hyde, Paper Peepshows (2015), pp. 14–15 and David Robinson, ‘Augsburg Peepshows’, Print Quarterly, Vol. 5, No. 2 (June 1988), pp. 188–191.�

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  • (HUNTING). [ENGELBRECHT, Martin. ~ [A stag hunt in a miniature perspective peepshow. Augsburg: Martin Engelbrecht, c. 1730-50].
    A rare perspective peepshow depicting a stag hunt in a forest, with horses and dogs. Among the hunters is one with a rifle, and two… (more)

    A rare perspective peepshow depicting a stag hunt in a forest, with horses and dogs. Among the hunters is one with a rifle, and two with horns. Engelbrecht (1684-1756) produced many different designs of these sets in three sizes, of which ours is an example of the smallest (and rarest). They were designed to be viewed when slotted successively into a perspective viewing box but can equally be appreciated when standing in simple slots or stands. One of the parts is marked ‘N. 87’ in the plate. In this example the prints have been mounted in the early nineteenth-century. cf, Ralph Hyde, Paper Peepshows (2015), pp. 14–15 and David Robinson, ‘Augsburg Peepshows’, Print Quarterly, Vol. 5, No. 2 (June 1988), pp. 188–191.�

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  • The Last of the Garayes and other Poems by an Englishwoman dedicated to the British Residents at Dinan. by ‘AN ENGLISHWOMAN’. ‘AN ENGLISHWOMAN’. ~ The Last of the Garayes and other Poems by an Englishwoman dedicated to the British Residents at Dinan. Dinan: J.-B. Huart, 1868.
    Sole edition of a rare illustrated poetical collection by a so-far unidentified woman of the English community at the Breton town of Dinan. The subscribers… (more)

    Sole edition of a rare illustrated poetical collection by a so-far unidentified woman of the English community at the Breton town of Dinan. The subscribers list contains 52 names, mainly English and mainly women. The romantic plates are very accomplished but unsigned, save by the printer Mainoë at Nantes. They are captioned with excerpts from the verses. No UK copies located by JISC/COPAC. Worldcat: Columbia and Bn.

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  • Silhouettes du front, souvenirs de trente mois de guerre reproductions de quarante dessins, croquis & aquarelles... lettre-préface de M. le Maréchal Joffre, by RÉQUIN, E. Commandant. RÉQUIN, E. Commandant. ~ Silhouettes du front, souvenirs de trente mois de guerre reproductions de quarante dessins, croquis & aquarelles... lettre-préface de M. le Maréchal Joffre, Paris: Devambez, [1917].
    First edition, one of 275 copies on Hollande (after 20 on Japon) signed by the artist, additionally inscribed by him to French politician Joseph Paul-Boncour… (more)

    First edition, one of 275 copies on Hollande (after 20 on Japon) signed by the artist, additionally inscribed by him to French politician Joseph Paul-Boncour in 1927 with a pen sketch and six additional drawings, plus some of the illustrations with captions overwritten by the artist in pencil. Réquin’s collection is valuable as a record of the wide range of nationalities present in the Northern France campaigns in 1917. There are portraits of French, Belgian, British, Scots and Welsh soldiers, but also North African, Sengalese, Indian, Russian, and Turkish troops. This copy was evidently given by the artist to Paul-Boncour as a participant in the 1927 Geneva Conference on arms limitation. Réquin adds six drawings, including four satirical sketches of the Geneva Conference itself (which he probably attended as an official artist). These large sketches include portraits of some of the major participants, including the Eton and Oxford-educated British diplomat Robert Cecil, 1st Viscount Cecil of Chelwood, one of the architects of the League of Nations. JISC/Copac locates no UK copies.

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  • Notice sur la Lithographie, suivie d’un essai sur la Reliure et le blanchiment des livres et graveurs... by MAIRET, François-Ambroise. MAIRET, François-Ambroise. ~ Notice sur la Lithographie, suivie d’un essai sur la Reliure et le blanchiment des livres et graveurs... Châtillon-sur-Seine: C. Cornillac, 1824.
    Second and enlarged edition, which includes the first edition of the second part, on bookbinding (the first edition was published by the author at Dijon… (more)

    Second and enlarged edition, which includes the first edition of the second part, on bookbinding (the first edition was published by the author at Dijon in 1818). Mairet’s is one of the important early accounts of lithography with a detailed account of the processes of preparation, the application of images to the stone and of the printing itself (with a plate of a lithographic press). Despite the importance of his treatise on lithography, Mairet is best known as a binder. A native of Dijon, he established himself as a binder and paper-dealer around the year 1806, he later worked mainly as a paper manufacturer. ‘He published, among other works, an Essai sur la reliure et leblanchissement des livres [the present book] in 1824, much of which was used by Lenormand and embodied in the Roret Manuels on Binding... he is probably the greatest binder of the time in the use of classical motives, and his work has much charm and delicacy’ (Ramsden, French Bookbinders, p. 133). The Essai sur la reliure is particularly valuable as a first-hand account of contemporary methods of colouring binding materials and producing decorative effects such marbling on both paper and leather. Bigmore & Wyman II, 14 (’The new edition was printed in a far superior manner to the old one, and the plates are much better executed... Copies are now seldom met with’); Pollard, Early Bookbinding Manuals 52; Twyman Lithography 1800-1850, pp. 92-95.

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  • Catalogue d’une superbe collection d’estampes, desseins, médailles, coquilles et autres objets rares et précieux, délaissés par le citoyen Libert de Beaumont. décédé a Lille le 14 prairial, an 6e. Dont la vente se fera en sa maison mortuaire, rue Nationale, N°. 32, le [8 Vendemaire an 7] depuis neuf heures du matin jusqu’à midi, et depuis trois heures de relevée jusqu'à six, sous la direction des citoyens Jacquez, imp. Laurent, notaire, et Dioncq, juré-vendeur. by LIBERT DE BEAUMONT, Charles-François-Joseph. LIBERT DE BEAUMONT, Charles-François-Joseph. ~ Catalogue d’une superbe collection d’estampes, desseins, médailles, coquilles et autres objets rares et précieux, délaissés par le citoyen Libert de Beaumont. décédé a Lille le 14 prairial, an 6e. Dont la vente se fera en sa maison mortuaire, rue Nationale, N°. 32, le [8 Vendemaire an 7] depuis neuf heures du matin jusqu’à midi, et depuis trois heures de relevée jusqu'à six, sous la direction des citoyens Jacquez, imp. Laurent, notaire, et Dioncq, juré-vendeur. Lille: Jacquez, [1798].
    First edition of this rare posthumous sale catalogue of the notable collection of prints amassed by the voracious Lille collector Libert de Beaumont (1742-1798) ---… (more)

    First edition of this rare posthumous sale catalogue of the notable collection of prints amassed by the voracious Lille collector Libert de Beaumont (1742-1798) --- now widely dispersed among collections around the world. Aside from master prints by the likes of Durer, Rembrandt and Callot Liber de Beaumont was an enthusiastic collector of British prints and the catalogue includes sections devoted to Bartolozzi (including numerous prints after Angelika Kauffman), Earlom, Burke, Tomkins, Smyth, Caroline Watson, Knight and many others. The sale included a fine section of medals and another of shells.

    ‘Il amassa la plus considérable collection iconographique qu'il soit permis à un particulier de posséder. Pendant plus de trente années il n’a cessé de l'accroître : nulle peine, nul sacrifice ne l’arrêtaient quand il s’agissait d'acquérir une belle pièce qu'il n’avait pas. L’on raconte encore aujourd'hui à Lille qu’il arriva un jour que pour obtenir l'oeuvre d’un maître quil désirait, il vendit une bonne et belle ferme en plein rapport; (Archives historiques et littéraires du nord de la France, 1837, p. 241).
    Lugt 5807; Getty Provenance Index F-A1186; Duplessis 2081.

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  • Jeu du Voyageur en Europe. by (EUROPE). (EUROPE). ~ Jeu du Voyageur en Europe. Paris: chez Basset M.d d'Estampes rue St.Jacques, au coin de celle des Mathurins n°64, [1813].
    A journey through Napoleonic-era Europe as a striking large-format engraved ‘Game of Goose’. The sixty three game squares include the Imperial palace at St Petersburg,… (more)

    A journey through Napoleonic-era Europe as a striking large-format engraved ‘Game of Goose’. The sixty three game squares include the Imperial palace at St Petersburg, the cathedral at Moscow, Westminster Bridge, the Dublin Exchange, Edinburgh cathedral, several French cathedrals, the mosque of Hagia Sofia at Constantinople, concluding with the Arc de Triomphe (which was commissioned by Napoleon in 1806 and was still under construction at the time of publication) with a view of the Palais Impérial des Tulieries beyond. The arch is surmounted by the imperial eagle. The print is undated but was advertised in the Journal de l’Imprimerie in 1813. De Vinck, pag. 50, n°120.

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  • With decoupage scrapwork and hair). by (MEMORIAL DIORAMA. (MEMORIAL DIORAMA. ~ With decoupage scrapwork and hair). [England, probably 1880s].
    A striking and moving memorial to a young boy, a vision of a child’s paradise with chromolithograph scrapbook cuttings of birds, horses, children, dancers, flowers… (more)

    A striking and moving memorial to a young boy, a vision of a child’s paradise with chromolithograph scrapbook cuttings of birds, horses, children, dancers, flowers and foliage, together with cuttings of hair (some woven). It combines two popular Victorian domestic crafts of hair art and scrapbooking, within an accomplished (but probably also domestic) wooden frame in the gothic style. With it supersized hair-carrying birds dwarfing diminutive dancers this is an inadvertently unsettling piece of Victorian naïve art.

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  • Three Muses (Painting, music and literature). by HUTTON, John. HUTTON, John. ~ Three Muses (Painting, music and literature). [c. 1953]. 1953
    Basil Spence and John Hutton worked together as architect and mural painter for the Society of Mural Painters’ RIBA exhibition in 1953. The scheme that… (more)

    Basil Spence and John Hutton worked together as architect and mural painter for the Society of Mural Painters’ RIBA exhibition in 1953. The scheme that they picked to work on was one for the interior of an office building. David Rock designed an interior with a mezzanine and interesting views throughout. On one side of the room was to be a mural with nine full height muses by John Hutton. Hutton, however, never came up with the other six in time for the exhibition, so Rock simply made them up in Hutton’s style. Many years later a book was written about John Hutton where the author mistook the six muses that Rock had created for Hutton’s own work, arguing that the six muses sketch had been mislaid over time! At the opening of the exhibition, however, there was a lot of embarrassment as Hutton had motioned Rock into a group and introduced him to his model Marigold, whom Rock had only met in her dressing gown when he collected Hutton’s sketches. After a few seconds of confusion Rock said “Oh, I’m sorry, I didn’t recognise you with your clothes on!” Exhibited: John Hutton New Zealand Tour, National Art Gallery, Wellington, et al, 1972, cat no. 2.

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  • Les premiers Élemens de la peinture pratique enrichis de figures de proportion mesurées sur l’Antique, desinées & gravées par J.B. Corneille... by [PILES, Roger de] CORNEILLE, Jean-Baptiste. [PILES, Roger de] CORNEILLE, Jean-Baptiste. ~ Les premiers Élemens de la peinture pratique enrichis de figures de proportion mesurées sur l’Antique, desinées & gravées par J.B. Corneille... Paris: Nicolas Langlois, 1784.
    First edition. One of the first French painting manuals, often cited as containing the first engravings of the artist’s palette. The twenty numbered plates are… (more)

    First edition. One of the first French painting manuals, often cited as containing the first engravings of the artist’s palette. The twenty numbered plates are those by Corneille referred to on the title while the thirty unnumbered plates are the etchings by Sébastien Leclerc, with their own title-page directly after the text: Figures d’academie pour aprendre; désiner, gravées par Sebastien LeClerc (A Paris Chez N. Langlois, rue St. Jacques; la Victoire).
    Neither set of plates was invariably included and the latter plates are preceded by Jombert’s 1751 title-page, as in several other copies, suggesting Les premiers Élemens de la peinture pratique was reissued in the eighteenth century, using original copies/sheets and adding a further suite of plates.
    Cicognara, 314: ‘Libretto piuttosto raro e succinto che ha qualche merito per la succosa con cui è scritto: ma si estende presso ché esclusivamente sui preparativi meccanici dell’arte della pittura e le tavole sono inserte fra il testo dell’opera.’

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  • Sous les pots de fleurs. Recueil de dessins à la plume. Accompagnés de prose rythmée composes au front … 1914 – 1917. Préface de MacOrlan. by MARTIN, Charles. MARTIN, Charles. ~ Sous les pots de fleurs. Recueil de dessins à la plume. Accompagnés de prose rythmée composes au front … 1914 – 1917. Préface de MacOrlan. Paris: [Imprimerie Studium for] Jules Meynial, [1 December 1917].
    First edition. One of 300 copies. Charles Martin (1884-1934) created this account of the Western Front in blank verse and graphic illustration, disguising its anti-militaristic… (more)

    First edition. One of 300 copies. Charles Martin (1884-1934) created this account of the Western Front in blank verse and graphic illustration, disguising its anti-militaristic sentiment under the title Sous les Pots de Fleurs, evidently to tease the censors who may or may not have seen the play on words (Sous le Flots de Peur, ‘Under waves of fear’). Martin’s art deco style was already well developed in his colourful pre-war contributions to the Gazette de Bon Ton, Harper’s Bazaar and Vanity Fair, but here, working under frightening conditions, his tone is understandably darker. Like several other artists, he served as a camouflage officer, a serjeant in the ‘section de camouflage’, stationed at Bergues. Carteret, Modernes, V, p. 133.

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  • Sièges. by (FURNITURE) (FURNITURE) ~ Sièges. [Paris: Guilmard and others, 1860s].
    A substantial collection of plates depicting upholstered chairs, sofas, stools and other seats, evidently a maker’s or vendor’s collection with additional tracings and drawings. Most… (more)

    A substantial collection of plates depicting upholstered chairs, sofas, stools and other seats, evidently a maker’s or vendor’s collection with additional tracings and drawings. Most are taken from the bimonthly journal Le Garde-meuble ancien et moderne with others from L’ameublement, Le Magasin de meuble and Le Moniteur de l’ameublement and they include a range of Second Empire styles together with fashionable reproductions of earlier styles. Carved wood (varnished, lacquered, gilt or ‘exotype’) is usually paired with elaborate upholstery in decorative fabrics trimmed with passmenterie. Makers and suppliers are often mentioned.

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  • General Samuel Smith. by SAINT-MÉMIN, [Charles Balthazar Julien Févret de]. SAINT-MÉMIN, [Charles Balthazar Julien Févret de]. ~ General Samuel Smith. Philadelphia, 1798.
    A physionotrace portrait of General Samuel Smith (1752-1839), American Senator and Representative from Maryland and an original member of the Society of the Cincinatti in… (more)

    A physionotrace portrait of General Samuel Smith (1752-1839), American Senator and Representative from Maryland and an original member of the Society of the Cincinatti in 1783.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes).

    Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson. An original portrait, together with the copper plate and twelve impressions cost $25 for gentlemen, $35 for ladies, presumably because of the more elaborate details of hair, though many male sitters (including Smith) sported elaborate braids.

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  • Carnet de Guerre by ESTÈVE, Maurice. ESTÈVE, Maurice. ~ Carnet de Guerre Paris: Éditions des Cendres, 2012.
    Number 104 of 150 numbered copies of this facsimile edition of Estève’s remarkable, near-miniature wartime sketchbook (1939-1940), with introductory booklet by Françoise Chapon. Estève (1904-2001)… (more)

    Number 104 of 150 numbered copies of this facsimile edition of Estève’s remarkable, near-miniature wartime sketchbook (1939-1940), with introductory booklet by Françoise Chapon. Estève (1904-2001) was essentially self-taught, working under the clear influence of Cézanne and Braque, and hovering between representation and abstraction. His wartime notebook is a truly exceptional representation of a French soldier’s experience, superbly reproduced here by Éditions des Cendres.

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  • English Sea Side Cottages photographed by Albert Levy at Hastings, Margate, Birchington, etc. by LÉVY, Albert. LÉVY, Albert. ~ English Sea Side Cottages photographed by Albert Levy at Hastings, Margate, Birchington, etc. [Paris], 1902.
    A superb survey of turn-of-the century British domestic architecture by an important French photographer who used cyanotype to notable effect. These examples of seaside ‘cottages’… (more)

    A superb survey of turn-of-the century British domestic architecture by an important French photographer who used cyanotype to notable effect. These examples of seaside ‘cottages’ in East Kent and Sussex depicts an array of then recently constructed high quality houses, a good number of which survive. Broadly within the Arts and Crafts tradition, the houses fuse a variety of older English vernacular styles with modern innovations, notably in the range of moulded and cut bricks and tiles.

    Albert Lévy (1847-1931) was both a pioneering and prolific architectural photographer, unusual for his time in working on both sides of the Atlantic, with studios in Paris and New York. Characteristically, his collections were issued as cyanotypes printed directly from the original glass negatives. His collections included numerous sequences of French, British and American buildings of the Gilded Age, but are now very rare indeed. Jisc locates no UK copies. FirstSearch locates US copies at Columbia, Princeton and Lawrence Technological University only.

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