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  • Keywords = art & architecture
  • Giséle, La Guitare et le jazz-band. by DUVERNOIS, Henri. Berthe MARX, illustrator. DUVERNOIS, Henri. Berthe MARX, illustrator. ~ Giséle, La Guitare et le jazz-band. Paris: Fayard, Le Livre de Demain, [1924].
    First edition with the illustrations by Berthe Marx. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially… (more)

    First edition with the illustrations by Berthe Marx. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • La Bataille. by FARRÈRE, Claude. A. ROUBILLE, illustrator. FARRÈRE, Claude. A. ROUBILLE, illustrator. ~ La Bataille. Paris: Fayard, Le Livre de Demain, [1923].
    First edition with the Roubille illustrations. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the… (more)

    First edition with the Roubille illustrations. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • Marie-Claire. by AUDOUX, Marguerite. Paul-Émile COLIN, illustrator. AUDOUX, Marguerite. Paul-Émile COLIN, illustrator. ~ Marie-Claire. Paris: Fayard, Le Livre de Demain, [1925].
    First edition with the Colin illustrations of Audoux successful autobiography of a humble rural upbringing (1911).

    Number 2 of 15 copies with the suite of all… (more)

    First edition with the Colin illustrations of Audoux successful autobiography of a humble rural upbringing (1911).

    Number 2 of 15 copies with the suite of all 21 wood engravings on chine, all initially by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • Grangoujon. by BENJAMIN, René. A. ROUBILLE, illustrator. BENJAMIN, René. A. ROUBILLE, illustrator. ~ Grangoujon. Paris: Fayard, Le Livre de Demain, [1925].
    First edition with the illustrations by Roubille, one of 15 copies with all the wood engravings present in a signed suite on chine.

    Fayard’s Livres de… (more)

    First edition with the illustrations by Roubille, one of 15 copies with all the wood engravings present in a signed suite on chine.

    Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

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  • Je vous ai désirée un soir... by BOYLESVE, René. Paul BAUDIER, llustrator. BOYLESVE, René. Paul BAUDIER, llustrator. ~ Je vous ai désirée un soir... Paris: Fayard, Le Livre de Demain, [1925].
    First edition. Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price.… (more)

    First edition. Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

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  • Gaspard. by BENJAMIN, Réné. RENEFER, illustrator. BENJAMIN, Réné. RENEFER, illustrator. ~ Gaspard. Paris: Fayard, Le Livre de Demain, [1923].
    First edition of the first of Fayard’s important Livre de Demain series, one of 15 copies with the illustrations in an additional suite on chine,… (more)

    First edition of the first of Fayard’s important Livre de Demain series, one of 15 copies with the illustrations in an additional suite on chine, signed. Benjamin’s Prix Goncourt novel of 1915 was written in hospital while recovering from injuries sustained at Verdun in September 1914 (and first published by Fayard). The wood engravings are among Renefer’s most evocative war illustrations.

    Fayard’s Livres de Demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper. The series was very popular and ran for several years, with some titles reprinted in successive editions.

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  • La Divine Chanson. by HARRY, Myriam. Ch. J. HALLO, illustrator. HARRY, Myriam. Ch. J. HALLO, illustrator. ~ La Divine Chanson. Paris: Fayard, Le Livre de Demain, [1925].
    First edition with the illustrations by Hallo, number 2 of 15 copies with the suite of all 23 wood engravings on chine, all initialled by… (more)

    First edition with the illustrations by Hallo, number 2 of 15 copies with the suite of all 23 wood engravings on chine, all initialled by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • Les Amants tourmentés. by RENEFER, illustrator. VIOUX, Marcelle. RENEFER, illustrator. VIOUX, Marcelle. ~ Les Amants tourmentés. Paris: Fayard, Le Livre de Demain, [1925].
    First edition with Renefer’s illustrations of an evocative Montparnasse-set novel first published in 1923. Number 2 of 15 copies with the suite of all 29… (more)

    First edition with Renefer’s illustrations of an evocative Montparnasse-set novel first published in 1923. Number 2 of 15 copies with the suite of all 29 wood engravings on chine, all signed by the artist. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • La Randonnée de Samba Diouf. by FALKÉ, Pierre, illustrator. Jérome and Jean THARAUD. FALKÉ, Pierre, illustrator. Jérome and Jean THARAUD. ~ La Randonnée de Samba Diouf. Paris: Fayard, Le Livre de Demain, [1926].
    First edition with the Falké illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and initialled by the artist. A colonialist… (more)

    First edition with the Falké illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and initialled by the artist. A colonialist novel in which a young Senegalese fisherman finds himself enlisted in the army, fighting with the French in the trenches of the Great War. It first appeared in 1922. Fayard’s Livres de demain brought examples of the current revival in woodcut and wood engraving to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the prints, with just 15 copies of each (as here) presented with an additional suite of the original woodcuts specially printed on fine paper.

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  • [14 coloured erotic cards]. by (EROTICA). (EROTICA). ~ [14 coloured erotic cards]. [?Farnce, c. 1920s].
    14 rare belle époque cards, including: ‘Au Pompe-Dard — Pumping Fashion’; ‘Position du tireur debout — Standing fashion’; ‘Enviander les Brancards — Between the Shafts’,… (more)

    14 rare belle époque cards, including: ‘Au Pompe-Dard — Pumping Fashion’; ‘Position du tireur debout — Standing fashion’; ‘Enviander les Brancards — Between the Shafts’, etc.

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  • My Darling and I. by (EROTICA). (EROTICA). ~ My Darling and I. [Paris, c. 1940s].
    A series of witty and finely executed erotic miniatures, presumably a Paris souvenir made with an anglophone audience in mind, most likely the American servicemen… (more)

    A series of witty and finely executed erotic miniatures, presumably a Paris souvenir made with an anglophone audience in mind, most likely the American servicemen in Paris after 1945.

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  • Vexation and Strife. by MOFFAT, James. MOFFAT, James. ~ Vexation and Strife. Calcutta, 1797.
    A rare caricature of domestic strife, Calcutta-printed by Scottish printmaker James Moffat (1775-1815), better known for his Indian topographical views popular among British colonial residents… (more)

    A rare caricature of domestic strife, Calcutta-printed by Scottish printmaker James Moffat (1775-1815), better known for his Indian topographical views popular among British colonial residents in India. A woman, dressed in a short shift, angrily pulls a bottle from the hand of a drunken man, who sits with his right fist raised and a cigar hanging from his mouth as smoke billows around his head. He holds onto a bottle with his left hand, a glass and pile of cigars at his elbow. The woman points with her left hand to a clock on the wall which shows the time as five past five. In the background on the left, a dark-faced, cloaked figure stands before the curtained doorway on the left.

    ‘Moffat was a Scotsman who arrived in India aged only 14, living in Calcutta from 1789 to 1815. He appears to have learnt his profession of drawing and engraving in India. According to Wynyard Wilkinson (‘The Makers of Indian Colonial Silver’, London, 1987, p. 137) he was apprenticed as an engraver to the silversmith John Ludvig Jacobi in 1789, and then worked from 1794-1804 for another silversmith John Mair and his successor firms, while engraving and publishing his own views. An advertisement in the ‘Calcutta Gazette’ in 1797 offering to produce ‘Picturesque copper-plate engravings’ led to a series of views of Calcutta and its environs.’ ?

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  • Album Types Anglais by GAVARNI, Henri MONNIER and Tony JOHANNOT, illustrators. GAVARNI, Henri MONNIER and Tony JOHANNOT, illustrators. ~ Album Types Anglais [Paris: Imprimerie Blondeau, rue de Petit-Carreau, c. 1840].
    First edition of this very scarce collection of French caricatures of English ‘types’, men and women, including: an Oxford student, an auctioneer, a bus driver,… (more)

    First edition of this very scarce collection of French caricatures of English ‘types’, men and women, including: an Oxford student, an auctioneer, a bus driver, a barmaid, a dressmaker, a chamber maid, a beggar and an invalid. Libraryrhub lists Bodley as the only UK location.

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  • Adieu Vat. by BOURNAZEL, Diane de. BOURNAZEL, Diane de. ~ Adieu Vat. Marliac (Corrèze, Limousin), 2016.
    A unique artist’s book. A powerful fusion of the Dance of Death with the creatures of a Medieval bestiary in De Bournazel’s extraordinary style. Tumbling… (more)

    A unique artist’s book. A powerful fusion of the Dance of Death with the creatures of a Medieval bestiary in De Bournazel’s extraordinary style. Tumbling figures, furtive forest creatures, and a grinning death’s head, combine in this meditation on human mortality, made as a visual diary of the artist’s own personal bereavement. Adieu Vat (an archaic French term of farewell) expresses the sense of incomprehension (a lone figure holds a placard reading ‘NON’, the only word in an otherwise wordless book), of anger, despair, ultimate acceptance and, occasionally humour and consolation. Made in 2016 the book has been retained by the artist until now.

    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’.

    Her work is represented in private and public collections in France (including the Bibliothèque nationale), the United Kingdom and in the United States (Boston Athenaeum, San Francisco Center for the Book etc).

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  • Cours de peinture sur porcelaine... traduit de l’anglais par E. Roubaud. by LEWIS, Florence. LEWIS, Florence. ~ Cours de peinture sur porcelaine... traduit de l’anglais par E. Roubaud. Paris [London]: Cassell et Compagnie, 1883.
    First edition in French of China Painting (also 1883) by Florence Lewis, one of the most successful and prolific artists working for the Lambeth Doulton… (more)

    First edition in French of China Painting (also 1883) by Florence Lewis, one of the most successful and prolific artists working for the Lambeth Doulton potteries, who produced many thousands of designs for the pottery’s immense output exported throughout the British Empire and beyond. She was notably the decorator of what was (in 1893) the world’s largest vase, commissioned by the Indian Prince Gaekwar of Baroda from Doulton, exhibited at the Worlds Fair in Chicago.

    Lewis ‘worked at the Minton Art Pottery Studio in London before joining Doulton’s new Art Pottery in Lambeth around 1874. Miss Lewis became supervisor of Doulton’s Faience department in 1880, training the younger woman artists, and in 1883 she wrote a book about china painting for amateur and professional students. Her work was admired by Queen Victoria, who bought a tea service decorated with primroses in 1887’ (Wiener Museum of Decorative Arts). Rare: Worldcat lists the Cambridge University copy only of the French translation.

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  • Lettres consolantes et chrétiennes à un jeune solitaire du mont Saint-Bernard dédiées à S.E. monseigneur le cardinal De Belloy by LA SERRIE, François Joseph De. LA SERRIE, François Joseph De. ~ Lettres consolantes et chrétiennes à un jeune solitaire du mont Saint-Bernard dédiées à S.E. monseigneur le cardinal De Belloy Paris: J. M. Eberhart, 1806.
    First edition. A very rare work, published for the author, La Serrie of the Vendée, who published a series of little books at the opening… (more)

    First edition. A very rare work, published for the author, La Serrie of the Vendée, who published a series of little books at the opening of the nineteenth century, in small editions for distribution among his friends, with illustrations engraved by himself. These are naive but accomplished and often very striking devotional compositions. They are almost all captioned, almost invariably with the letter ‘N’ in reverse. No copies located in Worldcat.

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  • Que tout ceci reste entre nous. by BOURNAZEL, Diane de. BOURNAZEL, Diane de. ~ Que tout ceci reste entre nous. Marliac (Corrèze, Limousin), 2019.
    A unique artist’s book. Diane de Bournazel (b. 1956) creates books as ‘poems without words’ in her unique pen, ink and gouache style, filling each… (more)

    A unique artist’s book. 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’.

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    View basket More details Price: £7,500.00
  • [Cut paper roundels] by MAYNARD, Henry. MAYNARD, Henry. ~ [Cut paper roundels] Kingston (England), 1811.
    Examples of the Regency fashion for intricate paper cutting. Each roundel contains figures of angels, of John the Baptist holding a cross, and birds among… (more)

    Examples of the Regency fashion for intricate paper cutting. Each roundel contains figures of angels, of John the Baptist holding a cross, and birds among the exquisitely cut foliage and swags. At the centres are small watercolour scenes, one of Abraham and Isaac, the other of Moses and the burning bush. The initials ‘MWM’ may denote a recipient, or perhaps the object of a memorial. The black backgrounds and symbols of resurrection suggest these are memorial pictures.

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  • Panegyrique de Saint Louis, roi de France, prononcé devant Messieurs de l’Académie royale des inscriptions & belles-lettres, & Messieurs de l’Académie royale des sciences, dans l’eglise des PP. de l’Oratoire, le 25 août 1758. by (SAINT LOUIS). Guillaume-Germain GUYOT. (SAINT LOUIS). Guillaume-Germain GUYOT. ~ Panegyrique de Saint Louis, roi de France, prononcé devant Messieurs de l’Académie royale des inscriptions & belles-lettres, & Messieurs de l’Académie royale des sciences, dans l’eglise des PP. de l’Oratoire, le 25 août 1758. Paris: Bernard Brunet, imprimeur de l’Académie Françoise, 1758.
    First edition, preserved in its contemporary wrapper. A panegyric given on the Feast of Saint Louis, patron saint of France in the church, to members… (more)

    First edition, preserved in its contemporary wrapper. A panegyric given on the Feast of Saint Louis, patron saint of France in the church, to members of the Académies royales in the church of the Oratoire. Worldcat: Newberry and Michigan only outside France.

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  • A quantity of mounted cuttings of typography, ornaments, decorative initials, plates and title-pages from European books. by (TYPOGRAPHY & PRINTING TECHNIQUES). (TYPOGRAPHY & PRINTING TECHNIQUES). ~ A quantity of mounted cuttings of typography, ornaments, decorative initials, plates and title-pages from European books. c. 1550-1900.
    A unusual collection of examples of typography and printing techniques, which would be of use in the classroom as non-digital but portable samples of letterpress… (more)

    A unusual collection of examples of typography and printing techniques, which would be of use in the classroom as non-digital but portable samples of letterpress and intaglio printing, woodcut, engraving, etching, lithography, wood engraving and their various combinations. All have been cut from (hopefully) defective original sources and include full pages (including numerous title-pages) and cut examples of initials (woodcut, metalcut, wood engraved, etc) and ornaments (intaglio and letterpress). Some of the sheets bear pencil notes as to approximate date and city, most being French, with some English and German. A good proportion of the samples are early, with a concentration in the seventeenth and eighteenth centuries, but with significant sixteenth century examples, including decorative title-pages and initials.

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