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  • Broderies de Marie Monnier Préface de Paul Valéry. by MONNIER, Marie. MONNIER, Marie. ~ Broderies de Marie Monnier Préface de Paul Valéry. Paris: Galerie E. Druet, 1924.
    Sole edition of the small catalogue issued to accompany Monnier’s needlework exhibition at the Galerie Druet at 20, rue Royale, ‘Du lundi 5 mai au… (more)

    Sole edition of the small catalogue issued to accompany Monnier’s needlework exhibition at the Galerie Druet at 20, rue Royale, ‘Du lundi 5 mai au vendredi 30 mai 1924’. Copy number 13 of 15 on Japon (before 25 on Hollande and 100 on ordinary paper, total edition 140 copies).

    It lists just 14 pieces (1918-1923) including some of her most celebrated pieces including a set of four tarot images, l’Abeille and Palme (illustrating Valéry) and Féerie, after Léon-Paul Fargue. Valéry wrote in his preface: ‘Mais considérez ces panneaux merveilleusement colorés. Leur éclat les apparente aux plus merveilleuses productions de la vie, aux élytres, aux plumes d’oiseau, aux coquillages, aux pétales. Nulle peinture ne peut atteindre à ces forces ni à ces délicatesses que les brins de soie savamment associés font paraître’.

    Marie Monnier was the wife of the artist Paul-Émile Bécat and sister of bookseller-publisher Adrienne Monnier (Sylvia Beach’s partner). Marie exhibited both in her sister’s bookshop and at the Galerie Druet. She also created a large embroidery inspired by Joyce’s Finnegan’s Wake and painted one of the famous signboards for Shakespeare and Company (now at Princeton). Worldcat lists US copies at Harvard and Princeton (three copies in the Sylvia Beach collection).

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  • [ALBUM. by (?PARKER, Mary, Lady Leighton, compiler). (?PARKER, Mary, Lady Leighton, compiler). ~ [ALBUM. England, c. 1830s with some earlier inclusions].
    A large and full album containing accomplished watercolours and a selection of contemporary prints.
    The original drawings and watercolours here (together with the more significant… (more)

    A large and full album containing accomplished watercolours and a selection of contemporary prints.
    The original drawings and watercolours here (together with the more significant prints) display a distinctly romantic sensibility, with mountain and lakeland scenes (and more than a hint of the cult of the sublime) and other rural subjects of cottages and cottagers. Some of the views are obviously of Britain, while others are continental (specifically alpine). The majority are unsigned, though a number are by the same very accomplished amateur hand, with others by less schooled, perhaps juvenile hands. The whole assemblage is typical of the culture of early Victorian album- and scrapbook keeping, where a female compiler (often a mother) brought together contributions from family, friends and visitors, sometimes recording their travels, but including also subjects painted at home or copied or adapted from other sources. In the latter category are found a fine series of flower paintings, together with drawings in pencil and crayon of animals, a female reader, a cottager with a bundle of firewood, and so on. The principal artist, who contributes the largest and best watercolour views may well be identifiable as Mary Leighton, née Parker (1799-1864), a northern British artist whose work is represented in a sequence of albums closely comparable to ours at the Yale Center for British Art (MSS 16). Not only is the range of materials of our album similar in each case (including watercolour contributions from Leighton’s brother, John Parker) but the style of the best watercolours is close to those by Leighton (examples of here work are digitised by the YCBA, notably the watercolour of Lake Maggiore catalogued as B2009.9.68 in the Printed and Drawings collection, together with others in the V&A collection in London). A recent northern provenance for the album further supports that likelihood.
    The contents include:
    Six fine watercolours of rural scenes (one mountainous, another captioned ‘Cottage. From nature’), several other sepia watercolour views, probably by the same hand. All unsigned.
    Pencil drawing, Warwick Castle, signed ?C.W.W. May 29th, 1821.
    Twelve watercolours of flowers and fruit (including sweet peas, auricula, a rose, geranium, fuchsia and two mixed bouquets). Unsigned.
    Silhouette portrait (perhaps a self portrait) of the prolific society silhouettist Auguste Édouart (1789-1861), signed, 1831, mounted on an elaborate lithograph background, plus one other silhouette without background, possibly also his work.
    Two watercolour miniatures (85 × 115 mm) by John Parker (1798-1860) of mountain views in North Wales: Trevaen (Tryfan) and Snowdon (Yr Wyddfa), signed, dated 1824 and with manuscript descriptions on versos.
    A circular miniature (diameter 85 mm) in sepia wash of a woodland grotto scene, mounted on a bifolium with manuscript caption in German dated 1818 signed Rösel, the miniature attributable to Johann Gottlob Samuel Rösel (1768-1843).
    Four large alpine engravings/lithographs (Montblanc, Hospice de Grimsel, Hospice du St Bernard, Chamounix), elaborately hand-coloured.
    Numerous usually smaller pencil or crayon drawings, including rural or cottage scenes, animals (a pig and a donkey), marine scenes, children at play, a girl reading etc. In several hands of different competence.
    Larger prints include: ‘The Late King’ (Hullmandel, after 1830); ‘Oaklands near Newnham, Gloucestershire’ (Haghe, ?c. 1830s); ‘Rev. Richard Raikes’ [founder of the Sunday School movement] (Hullmandel, n.d.); ‘The Thames Tunnel’ [Harding/Dixie, hand-coloured lithograph, c. 1835]; ‘L’Ingrat’ (Hullmandel, after 1832); ‘Kossynier : Sensenträger’ (Warsaw, c. 1830); ‘Ilfracombe, from Lantern Hill’ (Day & Haghe, c. 1830). There also several smaller lithographs including series of seaside views in Devon (Ilfracombe) and East Kent (Ramsgate and evirons, some locally printed.
    Four small continental devotional prints, two with moveable flaps, one metallic.
    (From the YCBA catalogue record): Mary Leighton, née Parker, 1799-1864 was the third child of Thomas Netherton Parker (1771-1848) and his wife, Sarah. Her parents must have encouraged their children's creative pursuits, as Mary and her elder brother John both became accomplished amateur artists. Their family was close friends of the Ladies of Llangollen, Eleanor Charlotte Barker (1739-1829) and Sarah Ponsonby (1755-1832), two upper-class Irish women who fled their families and established a home together in North Wales, at Plas Newydd, only fifteen miles from the Parker family estate, Sweeney Hall. Correspondence between Sarah Parker and Sarah Ponsonby, currently in the Denbighshire Record Office archives, reveals that Mary occasionally sent the ladies her drawings, many of which record the grounds of Plas Newydd and the surrounding countryside. The subjects of Mary's drawings also include prominent Grand Tour sites, satirical treatments of contemporary fashions, and thoughtful portraits of friends and family. Notably, the only portrait from life of the Ladies of Llangollen is by Mary's hand. Mary remained an active amateur artist following her 1832 marriage to Baldwin Leighton, 7th Baronet (1805-1871), of Loton Hall. Together they had six children, who Mary actively encouraged in drawing and painting. 

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  • Le Livre de Marco Polo gentilhomme venitien 1271-1295. by LYDIS, Mariette, illustrator. LYDIS, Mariette, illustrator. ~ Le Livre de Marco Polo gentilhomme venitien 1271-1295. [Paris: Taneur and Darantière for] Les Cent Une, 1932.
    Copy number 5 of 111 copies only printed for Les Cent Une, Société de femmes bibliophiles, with two original pencil drawings and a suite of… (more)

    Copy number 5 of 111 copies only printed for Les Cent Une, Société de femmes bibliophiles, with two original pencil drawings and a suite of proof plates. All copies were printed on paper watermarked ‘Les Cent Une’ and this is a tirage de tête copy printed for member, Celeste Pigasse. The text is after the 1556 French edition by André Jaulme (complete with authentic contractions) while the superb visual interpretations by Mariette Lydis include two of her characteristic decorated maps (both are signed). This is one of the early publications for the women’s book collecting club founded in Paris by the Princesse Schakhowskoy in 1926 as a direct riposte to ‘Les Cent’ — a bibliophile circle which then included no women among its members. Les Cent Une issued editions limited to the 101 members only and a handful of collaborators, usually no more than once a year, and the club is still in existence. Celeste Pigasse (née Crouzat) was a founder member and served as the club’s general secretary in its formative years (her husband founded the publishing house Librairie des Champs-Élysées ‘LCE’ whose Le Masque imprint published popular crime and detective fiction, including the French editions of Agatha Christie). Carteret IV, 322.

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  • La découverte de l’Amérique par Christophe Colomb. Découverte de l’île de Guanahani (San. Salvador). Planche Nº. 3. by (JIGSAW). (JIGSAW). ~ La découverte de l’Amérique par Christophe Colomb. Découverte de l’île de Guanahani (San. Salvador). Planche Nº. 3. Épinal: Ch[arles Pinot], [c. 1872].
    A popular Épinal print by the firm first established in 1860 as Pinot & Sagaire, later (1872) just ‘Pinot’. Founded by François Charles Pinot (1817-1874),… (more)

    A popular Épinal print by the firm first established in 1860 as Pinot & Sagaire, later (1872) just ‘Pinot’. Founded by François Charles Pinot (1817-1874), who had joined the Pellerin firm in 1847 and left in 1860 to found the rival firm, the Imagerie Pinot & Sagaire, or Nouvelle Imagerie d’Epinal.

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  • Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. by HARRISON, publisher. HARRISON, publisher. ~ Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. London: Harrison & Co. No 18, Paternoster Row, [1786-1788].
    First edition of this serially issued country house book with fine engraved plates by Birrell, Walker, Ellis, Fittler, Heath, among others, after E.F. Burney, Corbould,… (more)

    First edition of this serially issued country house book with fine engraved plates by Birrell, Walker, Ellis, Fittler, Heath, among others, after E.F. Burney, Corbould, Dayes, Robert Nixon and others. The engraved title includes a fine vignette of Harrison’s book and print shop in Paternoster Row. It was issued monthly, with four plates per issue at 3 shillings, and printed on ‘real Superfine French Colombier Paper’ (advert in London Gazette, 10-14 October, 1786).
    The houses illustrated and described range from the most opulent (including Blenheim palace) to more humble gentry houses. Included are Garrick’s Hampton House, Piozzi’s Thrale Place, William Pitt’s Holwood House, Lady Diana Beauclerk’s Twickenham Meadows, Charles Dashwood’s West Wycombe Park and Horace Walpole’s Strawberry Hill. The engravings are valuable records of both architectural, landscape and garden details and were widely imitated, not least on contemporary ceramics, while the descriptions contain useful details of architects, garden designs, landscape features such as rivers and lakes, and fine art collections — they are not always entirely complimentary. Upcott p. xxxiv. For Harrison’s bookshop see Raven, ‘Location, Size and Succession: The Book shops of Paternoster Row before 1800’ in The London Book Trade, eds. Myers, Robin; Harris, Michael & Mandelbrote, Giles (London, 2003), pp 89-126.

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  • Insignia Archiepiscoporum Cantuariensium cum Etimologia Cognominum, Scutorumque descriptione - latine at anglice exposita - a Conquestu ad praesens tempus, fidelitur deducta. Orig[ina]le extat in Biblioth[eca] Lambethiana 1805. by (ARCHBISHOPS OF CANTERBURY). (ARCHBISHOPS OF CANTERBURY). ~ Insignia Archiepiscoporum Cantuariensium cum Etimologia Cognominum, Scutorumque descriptione - latine at anglice exposita - a Conquestu ad praesens tempus, fidelitur deducta. Orig[ina]le extat in Biblioth[eca] Lambethiana 1805. [England, 1806 or soon after].
    An antiquary’s heraldic manuscript of the arms of the archbishops of Canterbury from Lanfranc (d. 1089) to Charles Manner-Sutton (installed 1805) copied from a manuscript… (more)

    An antiquary’s heraldic manuscript of the arms of the archbishops of Canterbury from Lanfranc (d. 1089) to Charles Manner-Sutton (installed 1805) copied from a manuscript made for John Whitgift (archbishop 1583-1604) still in the library of Lambeth Palace (MS 555). Much of the heraldry relating to the archbishops of Canterbury is displayed in the church of St Mary-at-Lambeth in London, near to Lambeth Palace the London seat of the archbishops. The manuscript records the arms, together with some etymological explanations of names, and opens with the arms of the See of Canterbury. Included are the arms of Thomas Becket, Stephen Langton, Simon Sudbury, Thomas Cranmer, Reginald Pole, Matthew Parker, John Whitgift, Richard Bancroft and William Laud. It was in the collections of Sir Charles George Young (1795–1869), officer of arms who served in the heraldic office of Garter King of Arms, the senior member of the College of Arms in England, from 1842 until his death in 1869.

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  • The Last Records of a Cotswold Community: being the Weston Subedge Field Account Book for the final twenty-six years of the famous Cotswold Games, hitherto unpublished, and now edited with a Study on the old time Sports of Campden and the Village Community of Weston. by ASHBEE, C. R. ASHBEE, C. R. ~ The Last Records of a Cotswold Community: being the Weston Subedge Field Account Book for the final twenty-six years of the famous Cotswold Games, hitherto unpublished, and now edited with a Study on the old time Sports of Campden and the Village Community of Weston. [Chipping Campden] Essex House Press, 1904.
    Inscribed by the editor to an early Labour party activist, Walter Coates of Berkshire. One of 75 copies on Essex House paper (there were also… (more)

    Inscribed by the editor to an early Labour party activist, Walter Coates of Berkshire. One of 75 copies on Essex House paper (there were also 150 copies on ordinary paper) this copy unnumbered. Printed in Endeavour type, illustrations by Edmund H. New. Preface by Sidney Webb. The Cotswold Olimpick Games originated in 1612 in Chipping Campden, England, and continues today. Originally, the Games included competitions such as running, jumping, dancing, and equestrian events, along with traditional contests such as sword, quarterstaff, and sledgehammer throwing. It was of interest to both Webb and Ashbee as evidence of the early communal activities of pre-industrial societies, and worthy of encouraging and reviving as part of the incipient labour movement. Tomkinson 50.

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  • Nuit pleine. by BOURNAZEL, Diane de. BOURNAZEL, Diane de. ~ Nuit pleine. [Marliac & Paris], 2023.
    Nuit pleine, while characteristic of De Bournazel’s astonishing unique books, also signals new directions. A profound black occupies many of the spaces between the teeming… (more)

    Nuit pleine, while characteristic of De Bournazel’s astonishing unique books, also signals new directions. A profound black occupies many of the spaces between the teeming figures inhabiting each page, and on close examination they emerge from this darkness through negative spaces. The pages mirror several of her recent panel paintings where figures are revealed from blackness in the same way. Nuit pleine seems to explore a more contemporary scene than many of her books and among the the hybrid figures we surely find protesters among the crowds with placards, flags and even a cellphone. Angular structures in the puzzle-like backgrounds suggest an urban rather than rural scene, and yet timeless figures of mermaids, jesters and death itself anchor the book in a cyclical timeless continuum.

    Diane de Bournazel (b. 1956) creates books as ‘poems without words’ in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful ‘reading’ and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:

    ‘Poésie sans paroles.
    Il s’agit bien de ça.
    Mettre en images le monde et l’arrière monde,
    Comme un poète mais sans mot dire’.

    De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled ‘Fenêtres sur le rêve’ (2024) written to introduce the artist’s first major Paris exhibition. Following a deep consideration of the artist’s visual world he concludes: ‘The reading of Diane de Bournazel’s work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them’.

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  • Fatrasie. by BOURNAZEL, Diane de. BOURNAZEL, Diane de. ~ Fatrasie. [Marliac & Paris], 2023.
    Fatrasie is a twenty-first century visual interpretation of a rare and highly distinctive medieval poetic form of satirical nonsense verse. In the Fatrasie form, early… (more)

    Fatrasie is a twenty-first century visual interpretation of a rare and highly distinctive medieval poetic form of satirical nonsense verse. In the Fatrasie form, early French rhymers subjugated meaning to the rhythm of repeated sounds and syllables and yet were able to hide piquant criticisms of prevailing power structures within their verses. It is a particularly apt title among Diane de Bournazel’s unique artist’s books, which frequently conceal their narratives and meanings within the artist’s dense iconography.

    Diane de Bournazel (b. 1956) creates books as ‘poems without words’ in her unique pen, ink and gouache style, filling each page with mazes of vegetation, mysterious borders, structures and figures, opening windows within pages allowing us to see behind and beyond them, suggesting a series of alternative worlds and narratives. Drawing on the universals of the cosmos, the natural world, of childhood and human relationships each of her books invite careful ‘reading’ and multiple interpretations. Collectors have found the books to speak for themselves, and the artist writes of her work simply as:

    ‘Poésie sans paroles.
    Il s’agit bien de ça.
    Mettre en images le monde et l’arrière monde,
    Comme un poète mais sans mot dire’.

    De Bournazel has recently been the subject of an essay by French medievalist and cultural historian, Michel Pastoureau, entitled ‘Fenêtres sur le rêve’ (2024) written to introduce the artist’s first major Paris exhibition. Following a deep consideration of the artist’s visual world he concludes: ‘The reading of Diane de Bournazel’s work takes a deliberately plural path, as in a fairy tale or a dream. It is obviously this way that she wants to lead us. And herein lies the magic of her art, an art that is both bewitching and bewitched, absolutely original, impossible to photograph and still less describe or explain. Her creations appeal not only to our imagination but to all our senses at once. You have to look at them, listen to them, feel them, breathe them and, ultimately, savour them’.

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  • King Lear’s Wife, the Crier by Night, The Rider to Lithend, Midsummer Eve, Laodice and Danae. by BOTTOMLEY, Gordon. BOTTOMLEY, Gordon. ~ King Lear’s Wife, the Crier by Night, The Rider to Lithend, Midsummer Eve, Laodice and Danae. London: [Chiswick Press for] Constable and Co., 1920.
    First edition. Number 43 of an edition of 50 copies. The poet Gordon Bottomley, an invalid since his childhood, lived away from the stress of… (more)

    First edition. Number 43 of an edition of 50 copies. The poet Gordon Bottomley, an invalid since his childhood, lived away from the stress of cities in Carnforth, Lancashire. He donated his extensive collection of Pre-Raphaelite paintings to the Tullie House Museum in Carlisle. ‘Gordon Bottomley has never enjoyed robust health … He can only work very very slowly and must husband his physical strength with the utmost care. … his work, appearing at rare intervals, is of great perfection. … He stands among the greatest’ (Old Vic Magazine, November 1922). Graham Robertson, who described Bottomley as a ‘dear friend’ wrote of the plays: ‘They have real stuff in them I think, especially King Lear’s Wife and his new one Gruach, just published, being an incident in the early life of Lady Macbeth; (Letters, p. 76). ‘Bottomley, who had a luxuriant beard and hair well into later life, was liked and admired. He maintained the standards and culture which he knew historically and aesthetically with a generous courtesy. He believed in rural tradition, community, and craftsmanship. His influence on the minority who are sensitive to the power of poetry, and especially of poetry heard communally, was due to his gift of friendship and direct encouragement as well as his writings’ (Oxford DNB). 

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  • A Dish of Apples. by RACKHAM, Arthur, illustrator. Eden PHILPOTTS. RACKHAM, Arthur, illustrator. Eden PHILPOTTS. ~ A Dish of Apples. London & New York: [The Westminster Press for] Hodder and Stoughton, 1921.
    First Rackham edition. Number 65 of 500 copies. Gettings, Arthur Rackham, p. 139; Hudson, Arthur Rackham, pp. 118-119. (more)

    First Rackham edition. Number 65 of 500 copies. Gettings, Arthur Rackham, p. 139; Hudson, Arthur Rackham, pp. 118-119.

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  • The Baby’s Day book from Ba to four years Old Binkie. by ROBERTSON, W. Graham. ROBERTSON, W. Graham. ~ The Baby’s Day book from Ba to four years Old Binkie. [c. 1908].
    A unique album written and illustrated by the artist and illustrator W. Graham Robertson for Marion (‘Binkie’), daughter of artist Arthur Melville who had died… (more)

    A unique album written and illustrated by the artist and illustrator W. Graham Robertson for Marion (‘Binkie’), daughter of artist Arthur Melville who had died in 1904. It is one of several (another is in the Ray collection in the Morgan Library, New York) devoted to the young girl who became Robertson’s muse in the years following Melville’s tragic death. It comprises ‘Six Songs of the Day’ and ‘Six Songs of the Dusk’, the typed poems accompanied by his illustrations, usually depicting himself ‘Ba’ and the infant Binkie, and bear titles such as ‘Glad Day’, ‘Sea Pinks’, ‘Sand Castles’, ‘The Nowhere Place’ and ‘The Lady Dream Come True’. The larger watercolours are on Robertson’s Rutland Gate stationery.

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  • De studio militari, libri quatuor. Iohan. de Bado Aureo, Tractatus de armis. Henrici Spelmanni Aspilogia. Edoardus Bissæus. E codicibus mss. primus publici juris fecit, notisque illustravit. by UPTON, Nicholas. UPTON, Nicholas. ~ De studio militari, libri quatuor. Iohan. de Bado Aureo, Tractatus de armis. Henrici Spelmanni Aspilogia. Edoardus Bissæus. E codicibus mss. primus publici juris fecit, notisque illustravit. London: Roger Norton, for John MartinJames Allestrye & Jacobi Allestrye sub signo Campanæ in Coemiterio D. Pauli, 1654.
    First edition. Nicolas Upton’s De Studio militari was first written in 1447 and circulated in manuscript. ‘It is a treatise, in four parts, on heraldry… (more)

    First edition. Nicolas Upton’s De Studio militari was first written in 1447 and circulated in manuscript. ‘It is a treatise, in four parts, on heraldry and the arts of war, drawing heavily on a tradition of heraldic and legal writing, but also reflecting contemporary concerns. The first book elaborates a view of nobility and knighthood that recognizes the importance of virtue, but which also attaches importance (as Bartolo da Sassoferrato had done) to princely authority in the granting of arms. Upton voices the topos of the decline of chivalry, as well as contemporary aristocratic concern that too many low-born men were acquiring arms in wartime. The second book discusses various types and laws of war (using Giovanni da Legnano's Tractatus de bello), a theme carried over into the fourth book with treatment of Henry V's campaign statutes. For the third book, on the colours of heraldry, Upton relies, though not slavishly, on the treatise of Johannes de Bado Aureo (possibly Bishop John Trevor of St Asaph's). The fourth draws also on French treatises and especially on encyclopaedias (such as Bartholomaeus Anglicus's De proprietatibus rerum) for the meaning of heraldic signs (animals, birds, fish, flowers, and ordinaries); but the extended list, in 195 sections, also reflects a growing demand for (and disputes over) coats of arms’ (Oxford DNB).

    It is followed in this first printed edition by jurist Henry Spelman’s Aspilogia, a Latin treatise on coats of armour, which, although probably written before 1595 had not previously appeared in print. It opens with a fine portrait of Spelman by Faithorne.

    Magistri Johannis de Bado Aureo Tractatus de armis (Wing J744) and Henrici Spelmanni equitis Auati aspilogia (Wing S4919) each have separate dated title page, with imprint ‘typis R. Norton’, pagination and register.
    In Nicholaum Uptonum Notæ (caption title) has separate pagination but the register is continuous from Auati aspilogia. The illustrations are signed by W. Hollar and Ro. Vaughan. The two double page engraved plates by Lombart are on paper with clear and visible foolscap watermarks. Wing (CD-Rom, 1996), U124
    Wing (CD-Rom, 1996), J744
    Wing (CD-Rom, 1996), S4919

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  • Pictures of English Landscape. (Engraved by the brothers Dalziel) with Pictures in Words by Tom Taylor. by FOSTER, Birket. FOSTER, Birket. ~ Pictures of English Landscape. (Engraved by the brothers Dalziel) with Pictures in Words by Tom Taylor. London: [Dalziel Brothers for] Routledge, Warne and Routledge, 1863.
    Not in King Victorian Decorated Trade Bindings. (more)

    Not in King Victorian Decorated Trade Bindings.

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  • The Theory and Practice of Landscape Painting in Water-colours … new edition. by BARNARD, George. BARNARD, George. ~ The Theory and Practice of Landscape Painting in Water-colours … new edition. London: [R. Clay for] George Routledge & Sons, 1871.
    Not in King Victorian Decorated Trade Bindings (more)

    Not in King Victorian Decorated Trade Bindings

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  • Claudine à l’école; Claudine à Paris; Claudine en ménage; Claudine s’en va. by LYDIS, Mariette, illustrator. COLETTE (and WILLY). LYDIS, Mariette, illustrator. COLETTE (and WILLY). ~ Claudine à l’école; Claudine à Paris; Claudine en ménage; Claudine s’en va. Paris: Éditions de Cluny, [1939].
    First edition with the Lydis illustrations, of Colette’s coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number… (more)

    First edition with the Lydis illustrations, of Colette’s coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number 88 of 100 on pur fil Lafuma with plates in 2 states, after copies on Japon and Hollande, of a total edition of 1585 copies on different papers. There was mutual admiration (and perhaps more) between Colette and Lydis, the former having written an admiring note on the artist for the programme of the 1934 Bal des petits lits blancs, which Lydis had illustrated.

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  • Henry Walter Livingston. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de. [SAINT-MÉMIN, Charles Balthazar Julien Févret de. ~ Henry Walter Livingston. 1804 or 5].
    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York.… (more)

    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York. He graduated from Yale College in 1786 where he studied law and was admitted to the bar and commenced practice in New York City. He was private secretary to Gouverneur Morris, American Minister Plenipotentiary to Paris, France, 1792-1794; judge of the court of common pleas of Columbia County, N.Y.; member of the State assembly in 1802 and again in 1810; elected as a Federalist to the Eighth and Ninth Congresses (March 4, 1803-March 3, 1807). He died at his home in Livingston, New York on December 22, 1810 and is interred with his wife in a vault there.

    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). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist 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.

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  • WATSON, David. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. ~ WATSON, David. 1808
    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the… (more)

    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the first Board of Visitors of the University of Virginia in 1817. He and known to have been a confidant of Thomas Jefferson and other notable figures of the period. He was elected six times to the General Assembly and represented Louisa County at the 1829 Constitutional Convention.

    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). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist 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.

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  • Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. by (GAME). (GAME). ~ Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. Paris: Basset, [n.d., 1815].
    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and… (more)

    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and Asia and 63 vignettes representing different peoples. They include native Americans (of California, Mexico, the Amazon, Iroquois, Brazil, Chile, Tierra del Fuego, Paraguay and Nootka Island), inhabitants of Java, Sumatra, China, Japan, Tahiti, Australia (Nouvelle Hollande) and New Zealand, as well as Africa, the Middle East and Europe. In common with other games of this type, the cultural attitudes represented by the symbolism and mode of play is worthy of decoding. With dice and counters, the players are to navigate (culturally, not geographically) from China (evidently still at the furthest reaches of the European geographical imagination) to France, via the 63 numbered squares, with their various characteristics, advantages and disadvantages. Mexico (square 6) is shown as a bridge and players landing there jump straight to square 12 (the Amazon); at 19 (Tahiti) the islanders’ hospitality detains players for two turns; at 31 (Siberia) the players waits in exile until another player reaches the same square and rescues them, at square 42, traditionally the ‘puzzle’ square (Japan) the player is refused landing and goes back to 30 (Abyssinia) and just before the end, square 58 (New Zealand) the player encounters the reputed anthrophages (man-eaters) and returns to the start. Ciompi/Seville Collection 32; Adrian Seville, ‘The geographical Jeux de l'Oie of Europe. Les Jeux de l’Oie géographiques de l’Europe’, Belgeo, 3-4, 2008, 427-444 (56).

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  • The March of Intellect. by [HEATH, William]. [HEATH, William]. ~ The March of Intellect. London: G. Humphrey, Jan. 23 1828.
    One of Heath’s famous graphic satires on the theme of The March of Intellect, which expressed contemporary anxiety over technological progress and social change in… (more)

    One of Heath’s famous graphic satires on the theme of The March of Intellect, which expressed contemporary anxiety over technological progress and social change in England brought about by science, education, industrialisation and commercialisation. This one shows a London street corner at the edge of open country and the sea, with numerous figures, including a street-sweeper, horse-drawn carriage, two men playing chess, musicians and singers and street-sellers, with wealthy figures being sent down a mechanical lift beside giant shop window stuffed with milliner. A steam carriage full of redcoat soldiers is seen in background, along with passenger balloons and a flying warship (raining canon-fire at ships below) in the air beside bridge crossing the English Channel between Dover and Calais.

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