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  • ‘Maruyama-ha Fūga-chō’ [later cover title]. by (EROTICA --- SHUNGA). (EROTICA --- SHUNGA). ~ ‘Maruyama-ha Fūga-chō’ [later cover title]. Japan, late Edo period, c. 1780-1820.
    Twelve superb paintings on silk (six pairs), each a couple making love, with one image showing faces, the other, their genitals, in each case provocatively… (more)

    Twelve superb paintings on silk (six pairs), each a couple making love, with one image showing faces, the other, their genitals, in each case provocatively and playfully framed to present a detail only. The paintings of each pair are linked by subtle details of clothing, sometimes suggested through a small glimpse of a pattern or a colour found in its counterpart. They are probably cuttings rescued from a refined and elegant hand scroll or hanging scroll of a larger size, wittily preserved in pairs. These are rare survivals of very high status shunga painting of the decades around 1800. The later title label on the album cover attributes them to the so-called ‘Maruyama School’ of Kyoto, but they have more in common with the sophisticated erotic silk paintings of high status artists such as Chôbunsai Eishi working around 1800. Several such paintings, on scrolls, are reproduced in the British Museum exhibition catalogue Shunga: Sex and Pleasure in Japanese Art (2013), see illustrations 56 and 57.

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  • Voyage autour de sa chambre... Illustrations de Henri Caruchet, gravées à l’eau-forte par Frédéric Massé... by UZANNE, Octave. Henri, CARUCHET, illustrator. UZANNE, Octave. Henri, CARUCHET, illustrator. ~ Voyage autour de sa chambre... Illustrations de Henri Caruchet, gravées à l’eau-forte par Frédéric Massé... Paris: H. Floury, pour les Bibliophiles indépéndants, ‘1896’ [but wrapper dated 1897 as called for].
    First edition thus, subscriber’s copy, number 77 of 210 copies, complete with a suite of cancelled plates in monochrome. With its title a nod to… (more)

    First edition thus, subscriber’s copy, number 77 of 210 copies, complete with a suite of cancelled plates in monochrome. With its title a nod to Le Maistre’s famous confinement narrative, Voyage autour de ma chambre (1794, Uzanne’s Voyage autour de sa chambre is ‘Une ancienne chanson d’amour voltige dans la solitude; dans ce nid charmant où l’on était si bien à deux, il ne reste que des rêves de volupté indécise et la sarabande enlaçante, mystérieuse et sinistre des souvenirs, ces revenants de l’âme qu'on évoque, qu’on chasse et qu’on appelle encore’.
    A delicious bibliophilic production and one of Octave Uzanne’s rarest books: the limitation noting: ‘Après tirage les cuivres ont été lacérés.’ The additional suite consists of the cancelled plates, in which central portions left blank for the overprinting of the text from other plates have been filled in with etched croquis, often humorous, of: fashionable women, a devil, a bat, a rat and so on. The two sets of original wrappers are preserved, one with the design by Henry Thiriet. Uzanne’s productions are the zenith of a certain strand of 1890s Parisian bibliophilia: with precision and exactitude of the latest printing techniques harnessed to produce a series of works of rare beauty. Caruchet’s illuminated borders are perfect examples of art nouveau’s decadent themes, though lightened throughout with delicate and elegant botanical forms.
    Uzannes’s text had first appeared in his Calendrier de Vénus (1880, pp. 127-150). Not in Carteret. Outside continental Europe, OCLC lists copies at the British Library (with one additional suite, as here) and Texas (with two additional suites). Uzanne is extensively discussed in Silverman’s excellent The New Bibliopolis: French Book Collectors and the Culture of Print, 1880-1914 (Studies in Book and Print Culture, 2013).

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  • (BOULLE, André-Charles). ASSELINEAU, Charles. ~ André Boulle ébéniste de Louis XIV... troisième édition entièrement revue et complétée par de nouveaux documents. Paris: [Gauthier-Villars for] P. Rouquette, 1872.
    One of 70 copies on papier vergé, with the author’s initials (total edition 76). An enlarged edition of Asselineau’s biographical account of France’s most celebrated… (more)

    One of 70 copies on papier vergé, with the author’s initials (total edition 76). An enlarged edition of Asselineau’s biographical account of France’s most celebrated cabinet maker, pioneer of the distinctive inlaid marquetry technique which carries his name. The book first appeared in 1854 (13 pages) and was reissued in 1855 (16 pages), with important biographical documents added to this 1872 edition (44 pages).

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  • Recueil des Combats de Duguay-Trouin [Les campagnes de Duguay-Trouin]. by DU GUAY-TROUIN, René. DU GUAY-TROUIN, René. ~ Recueil des Combats de Duguay-Trouin [Les campagnes de Duguay-Trouin]. Paris: sold by ‘le Sieur le Gouaz Graveur rue des Noyers, la seconde porte cochere à droit, en entrant par la rue St. Jacques, [n.d., c. 1760-70].
    First edition of this graphic companion to the life of the great French corsair captain Du Guay-Trouin, and specifically to the Memoires (Amsterdam, 1740), for… (more)

    First edition of this graphic companion to the life of the great French corsair captain Du Guay-Trouin, and specifically to the Memoires (Amsterdam, 1740), for the use of young mariners who are urged to examine and draw copies of the detailed engravings. The work includes a précis of his exploits (the text also engraved) a glossary of marine terms.

    Besides the two maps, the engraving is the work of the remarkable Ozanne family: Nicolas (or Nicolas-Marie) and his sister, Jeanne Françoise, whose names appear as artist and engraver respectively at the foot of the title plate. Hailing from Brest, the young Nicolas (1728-1811) had begun a career as a naval artist when his father died, leaving him responsible for three siblings (a brother and two sisters) all of whom he enlisted as contributors to his business. He rose to some prominence and was named as a royal ‘dessinateur de la marine’ in 1757, still assisted by his siblings. His sister, Jeanne François (1735-95) seems to have been the most active of these, and she is named as engraver in several other collections and single plates besides this one, usually marine prints.

    Duguay-Trouin is remembered as one of the greatest French naval commanders. In 1704-1705 he commanded the ship Jason and captured the British ships of the line HMS Elizabeth and HMS Coventry; then on 21 October 1707, together with Claude de Forbin, he achieved his greatest victory against a British squadron, in the Battle at the Lizard (part of the War of the Spanish Succession); in 1709 he captured the British ship of the line HMS Bristol, while the triumph of his career came on 21 September 1711, in an 11-day battle, where he captured Rio de Janeiro, then believed impregnable. The two double-page maps (both signed ‘Drouet’) depict his battles around the French and British Coasts and his capture of Rio. Une famille d’artistes brestois au XVIIIe siècle: les Ozanne, Charles Auffret (Rennes, 1891). Borba de Moraes, p. 273; Bosch 244; Polak 7235; Rodrigues 908; not in Sabin.

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  • A Desert - Imitation of modern Fashion! by (FASHION). [HEATH, William]. (FASHION). [HEATH, William]. ~ A Desert - Imitation of modern Fashion! London: Thomas McLean, 26 Haymarket, [c.1825-30].
    A wonderful satire on contemporary women’s fashion. The 1820s had seen considerable change in women’s fashions, with neoclassical straight lines and sparse adornments giving way… (more)

    A wonderful satire on contemporary women’s fashion. The 1820s had seen considerable change in women’s fashions, with neoclassical straight lines and sparse adornments giving way to a more exhuberant and romantic style with more emphasis on curvaceous shapes, cheekily satirised here with wine glass and fruit. BM Satires 15611.

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  • [Invitations]. by BAL DES QUATZ’ARTS. BAL DES QUATZ’ARTS. ~ [Invitations]. [Paris], 1895-1966.
    53 invitation cards to the notorious Parisian annual costume ball. The ball was inaugurated in 1892, and apart from the war years, ran until 1966,… (more)

    53 invitation cards to the notorious Parisian annual costume ball. The ball was inaugurated in 1892, and apart from the war years, ran until 1966, with attendance restricted to students and alumni of the École, both men and women, as well as a few ‘artistic personalities’ who had contributed to the preparation of the ball. They were held in several major venues scattered throughout Paris over the years, with most taking place at the Moulin Rouge, the Salle Wagram, and the Parc des Expositions at the Porte de Versailles. Although in its early years the ball was simply an elaborate party, from 1900 each ball had a specific theme, often derived from an ancient text or historic period or inspired by an ‘exotic’ foreign culture, around which various contests were arranged. With the addition of a theme the balls became more elaborate often turning into debaucherous affairs with guests soon discarding the period costumes that they were required to wear to gain entrance. The nudity, dancing and merrymaking often continued into the following day, the ball usually ending, with a shout of ‘Vive les Quat’z’ Arts!’, around seven o’clock in the morning, followed by a procession through the Latin Quarter, the Louvre, and a march over the Pont du Carrousel to the Théâtre de l’Odéon, where the partygoers would disband.

    Not surprisingly The Bal des Quat’z’Arts quickly became one of the premier events of the summer season. The invitations were elaborately designed to match the spectacle of the events, and correspondingly were often thematically orientalist, exotic, or primitive, with overtly erotic and sexual imagery. They are a tour de force of the evolution of artistic style, showing the progress from Art Nouveau to modernist primitivism, up through psychedelic design — though in retrospect they exhibit a troubling degree of predatory sexism and cultural appropriation. The ball is famously depicted in a series of photographs by Brassaï of 1930 and numerous other photographic records exist of the ball, allowing a comparison of the themes of the printed invitations and the costumes worn on the night.

    There were different invitations for men, women and committee members, and most included a tear-off coupon, which often survivie. This group contains examples from the following years, all complete with their coupons except where specified: 1895 (by Caran d’Ache); 1901 (without coupon) 1902 (without coupon); 1904 (m, without coupon); 1906 (?f); 1908 (f without coupon); 1909 (f); 1912 (f); 1913 (f, without coupon); 1914 (poster, folded once); 1920 (f); 1922 (m); 1923 (f); 1924 (f); 1927 (f, without coupon); 1928 (f); 1928 (m, without coupon); 1929 (m); 1929 (comité, without coupon); 1929 (f); 1930 (comité, without coupon); 1931 (m without coupon); 1931 (f without coupon); 1932 (m, without coupon); 1933 (m, without coupon); 1934 (m); 1939 (f?); 1946 (m); 1947 (m 2); 1948 (m) 1948 (f, without coupon); 1949 (m) 1949 (f); 1950 (m) 1950 (f); 1951 (m) 1951 (f) 1951 (additional); 1952 (m) 1952 (f ) 1952 (additional); 1953 (m) 1953 (f); 1954 (m?); 1955 (m) 1955 (f); 1956 (m) 1956 (f); 1958 (m) 1958 (?); 1959 (m); 1964 (m); 1966 (m?), plus one unidentified year.

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  • Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. by HUART, Louis. HUART, Louis. ~ Physiologie de l’étudiant … Vignettes de MM. Trimolet et Maurisset. Paris: Aubert et Cie … Lavigne … [1841].
    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and… (more)

    A satire on contemporary student life, addressing the traditional pursuits of the young denizens of the rue Saint Jacques — drinking, smoking, gaming, dancing and womanizing.

    This is one of the many such little Physiologies illustrative of ‘the craze that swept Paris in the early 1840s for a series of small illustrated volumes marketed under the general title of physiologies [looking back, perhaps, to Brillat-Savarin’s bestselling Physiologie du goût (1826) and Balzac’s Physiologie du marriage (1830)]. Some 120 different physiologies were issued by various Parisian publishers between 1840 and 1842 (ranging alphabetically from the Physiologie de l’amant to the Physiologie du voyageur), and it is estimated that approximately half a million copies of these pocket-sized books were printed during the same two-year span’ (Sieburth, p. 163).

    Designed for mass consumption, these satirical guides to particular social types were based on ‘the witty interaction of image and text, drawing and caption, seeing and reading … Byproducts of the recent technological advances in printing and paper manufacturing which had made illustrated books more commercially feasible and analogous to the various dioramas and panoramas which enjoyed a considerable popularity during the period, these illustrated anthologies of urban sites and mores catered to the public’s desire to see its social space as a stage or gallery whose intelligibility was guaranteed both by its visibility as image and its legibility as text …

    ‘Quickly produced and marketed, consumed and discarded, … the physiologies (like the sensational tabloids or canards hawked on Paris streetcorners of the period) are early instances of the cheap, throwaway “instant book” whose appeal lies in its very topicality and ephemerality’ (op. cit., pp. 165–7). Richard Sieburth, ‘Same difference: the French Physiologies, 1840–1842’, Notebooks in Cultural Analysis (Duke UP, 1984), pp. 163–200.

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  • Recueil des dessins d’ornements d’architecture de la manufacture de Joseph Beunat, à Sarrebourg, et à Paris, rue Napoléon, No. 11, contenant tout ce qui a rapport à la decoration des appartements, tells que panneaux, dessus de portes, dessus de glaces, frises, pilastres, montants, rosaces, entablements, moulures, écoinsons, modillons, &. &. by BEUNAT, Joseph. BEUNAT, Joseph. ~ Recueil des dessins d’ornements d’architecture de la manufacture de Joseph Beunat, à Sarrebourg, et à Paris, rue Napoléon, No. 11, contenant tout ce qui a rapport à la decoration des appartements, tells que panneaux, dessus de portes, dessus de glaces, frises, pilastres, montants, rosaces, entablements, moulures, écoinsons, modillons, &. &. [Paris, c. 1823].
    First edition. A major catalogue of over 700 Empire-style neoclassical plaster ornaments for exteriors and interiors, plus some schemes for entire rooms. Beunat learned the… (more)

    First edition. A major catalogue of over 700 Empire-style neoclassical plaster ornaments for exteriors and interiors, plus some schemes for entire rooms. Beunat learned the art of plaster moulding in England before patenting his method in France and establishing his factory at Sarrebourg (Moselle) in 1805.

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  • Le Moyen de devenir peintre en trois heures, Et d’exécuter au pinceau les ouvrages des plus grands maîtres, sans avoir appris le dessein. Nouvelle Edition, revuë, corrigée & augmentée. by [VISPRÉ, François-Xavier]. [VISPRÉ, François-Xavier]. ~ Le Moyen de devenir peintre en trois heures, Et d’exécuter au pinceau les ouvrages des plus grands maîtres, sans avoir appris le dessein. Nouvelle Edition, revuë, corrigée & augmentée. Amsterdam: M. Magérus, 1766.
    First edition with an illustration. A treatise on miniature painting on glass, in the form of a dialogue between the author and his female pupil,… (more)

    First edition with an illustration. A treatise on miniature painting on glass, in the form of a dialogue between the author and his female pupil, a marquise. Vispré’s method was based on the transfer application of an engraving to a glass or mirrored surface, allowing the amateur artist to make superb reproductions in ‘under three hours’. The book, which first appeared in 1755 (without a plate), seems to have been as much an advertisement for Vispré as both a tutor and supplier of artists’ materials to a fashionable clientele, and the two earlier editions (like this one, surprisingly rare) give his address in the rue Pavée, beside the Comédie Italienne.

    By 1766, when this edition appeared, Vispré had settled in London making his way as a successful portrait painter and miniaturist, exhibiting first with the Society of Artists and then quite frequently at the Royal Academy. This edition is the first to include a plate, perhaps designed to be used by the pupil as a test piece.

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  • La Belgique en cage et un coin de Belgique libre. Opgesloten België en een hoek van vrij België. by (GREAT WAR). WILLEMS, Frans. (GREAT WAR). WILLEMS, Frans. ~ La Belgique en cage et un coin de Belgique libre. Opgesloten België en een hoek van vrij België. [Netherlands, 1915].
    An atmospheric series of watercoloured prints of the German-controlled Dutch-Belgian border in 1915 by a Belgian artist in exile in Holland. Issued in very small… (more)

    An atmospheric series of watercoloured prints of the German-controlled Dutch-Belgian border in 1915 by a Belgian artist in exile in Holland. Issued in very small numbers (perhaps no more than 20 copies), it is marked ‘Série 1’, but no more were produced. Some of the images show the high-voltage electric fence erected by the Germans in 1915 to put an end to clandestine cross-border traffic between Holland and Belgium. On Belgian territory, the fence ran from the German border, from just behind Vaals (Limbourg) all the way to the Belgian coast. The Elektrische Grenzabsperrungszaun claimed many lives though smugglers soon refined their methods and the border was never completely sealed.
    Willems had studied in England (notably the watercolours of Turner) but was at home with his family in Belgium when war broke out, fleeing to Holland in 1914, where these remarkable and evocative prints were produced and published the following year.

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  • PHYSIONOTRACE
    Edme Mentelle membre de l’institut. Dess. p. Fouquet. gr. p. Chretien inv. du physionotrace … by CHRETIEN, Gilles-Louis. CHRETIEN, Gilles-Louis. ~ Edme Mentelle membre de l’institut. Dess. p. Fouquet. gr. p. Chretien inv. du physionotrace … Paris [between 1795 and 1799].
    An aquatint produced by physionotrace, ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his… (more)

    An aquatint produced by physionotrace, ‘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. One description mentions that a sitting could take as little as six minutes and within four days a dozen impressions could be delivered, hand-colored if desired, with the copper plate, for fifteen francs …

    ‘Physionotrace was very popular in France, where it had a detrimental effect on miniature painting and engraving. At the Salon of 1793, one hundred physionotrace portraits where exhibited. Three years later that number increased to six hundred. The physionotrace portrait replaced the miniature and was used as frontispiece illustrations in a number of books, but it was not until the advent of photography that the portrait was truly democratized’ (Photoconservation.com, sub Printing Processes). Thomas Jefferson had his portrait done in Paris by physionotrace in 1789 (now lost, though a print was made in 1801: see Alfred L. Bush, The Life Portraits of Thomas Jefferson, p. 9).

    Chrétien was a cellist in the chambre du roi at Versailles and worked initially with the miniaturist Edme Quenedey des Riceys to produce his portraits. They separated in 1789, and Chrétien went into partnership with the engraver Jean Fouquet (d.1799), responsible for the etching here. The subject is Edme Mentelle (1730–1815), geographer, who was elected to the Institut de France in 1795.

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  • Gentle Emetic. by GILLRAY, James. GILLRAY, James. ~ Gentle Emetic. London: H[annah] Humphrey, Jan 28 1804.
    One of a set of three Gillray prints of medical conditions that were also astute studies in facial expression.

    The printer, Hannah Humphrey, is an interesting… (more)

    One of a set of three Gillray prints of medical conditions that were also astute studies in facial expression.

    The printer, Hannah Humphrey, is an interesting figure. Known as ‘Mrs Humphrey’ although she was unmarried, she was sister of printer William Humphrey from whose address in St Martin's Lane she published her first prints. She became the leading publisher of expensive satirical prints, especially by Gillray who worked for her exclusively from 1791, and who lived in her house for the last twenty years of his life. ‘The two lived together in circumstances of domestic intimacy for many years, but so discreetly that the prurient gossips of the next generation could find little to say against them. When Gillray made his will in 1807 he left all his possessions 'to my dearest friend Hannah Humphrey' (Oxford DNB). BM Satires 10304.

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  • This is no Caricature. by [HEATH, William]. [HEATH, William]. ~ This is no Caricature. London: John Doyle, Published by Thomas McLean, 26 Haymarket October 1st 1827.
    In 1827 Harriet Mellon, widow of the banker Thomas Coutts married William Beauclerk, 9th Duke of St Albans. The daughter of a family of travelling… (more)

    In 1827 Harriet Mellon, widow of the banker Thomas Coutts married William Beauclerk, 9th Duke of St Albans. The daughter of a family of travelling players, Harriet had become an actress at an early age and was spotted by Coutts while performing in London. As a young woman she was widely celebrated for her beauty, and was painted by George Romney and Sir Thomas Lawrence. She became wealthy (as a senior partner of Coutts bank) and was 23 years older than Beauclerk on their marriage, providing ample scope for unkind commentary and ammunition for the satirists. Nicknamed ‘The Jolly Duchess’ Harriett enjoyed her wealth, was a great collector and generous patron. She wrote to her friend Sir Walter Scott:

    ‘What a strange eventful life has mine been, from a poor little player child, with just food and clothes to cover me, dependent on a very precarious profession, without talent or a friend in the world – first the wife of the best, the most perfect being that ever breathed …and now the wife of a Duke! You must write my life… my true history written by the author of Waverley’. (Scott’s Journal, 30 June 1827).

    After her death, she left an allowance to the Duke but her fortune passed to step-grandaughter Angela Burdett-Coutts, whose philanthropic association with Dickens is well known. BM Satires 15461. 

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  • Le Pays natal. by BORDEAUX, Henry. René POTTIER, illustrator. BORDEAUX, Henry. René POTTIER, illustrator. ~ Le Pays natal. Paris: Fayard, Le Livre de Demain, [1925].
    First edition with the Pottier illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and initialled by the artist.

    Fayard’s Livres… (more)

    First edition with the Pottier illustrations, number 2 of 15 copies only with the woodcuts on chine, numbered and 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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  • BOURGET, Paul. Georges JEANNIOT, illustrator. ~ Tragiques remous. Fayard: Fayard, Le Livre de Demain, [1925].
    First edition with Jeanniot’s illustrations, number 2 of 15 copies with the suite of original woodcuts on chine.

    Fayard’s Livres de demain brought examples of the… (more)

    First edition with Jeanniot’s illustrations, number 2 of 15 copies with the suite of original woodcuts 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.

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  • Victime expiatore. by CORTHIS, André. HERMANN-PAUL, illustrator. CORTHIS, André. HERMANN-PAUL, illustrator. ~ Victime expiatore. Paris: Fayard, Le Livre de Demain, [1926].
    First edition, number 2 of 15 copies with the original wood engravings on chine. Hermann-Paul, with his sparse and economical style, was one of the… (more)

    First edition, number 2 of 15 copies with the original wood engravings on chine. Hermann-Paul, with his sparse and economical style, was one of the most successful and effective of the French wood engravers of the twenties. He was already very well established by the time of the Great War, and turned to working on wood by necessity as metal for print making became scarce.

    Fayard’s enterprise was one of democratisation — aiming to bring high-quality illustration, 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 woodblocks, with just 15 copies of each (as here) presented with an additional suite specially printed on fine paper from the original blocks.

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  • La Fin d’un beau jour. by JALOUX, Edmond. Paul BAUDIER, illustrator. JALOUX, Edmond. Paul BAUDIER, illustrator. ~ La Fin d’un beau jour. Paris: Fayard, Le Livre de Demain, [1926].
    First edition with the Baudier wood engravings, number 2 of 15 special copies with the suite of original woodcuts on chine. Fayard’s Livres de demain… (more)

    First edition with the Baudier wood engravings, number 2 of 15 special copies with the suite of original woodcuts 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.

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  • Morte la Bète... La Fugue — Un Soir de pluie... ouvrage inédit. by DUVERNOIS, Henri. Guy DOLLIAN, illustrator. DUVERNOIS, Henri. Guy DOLLIAN, illustrator. ~ Morte la Bète... La Fugue — Un Soir de pluie... ouvrage inédit. Paris: Fayard, Le Livre de Demain, [1924].
    First edition of these three novellas, number 2 of 15 copies with the suite of original woodcuts, initialled by Dollian.

    Fayard’s Livres de demain brought examples… (more)

    First edition of these three novellas, number 2 of 15 copies with the suite of original woodcuts, initialled by Dollian.

    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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  • Crapotte by DUVERNOIS, Henri. Achille OUVRÉ, illustrator. DUVERNOIS, Henri. Achille OUVRÉ, illustrator. ~ Crapotte Paris: Fayard, Le Livre de Demain, [1926].
    First illustrated edition of this urbane novel of the Parisian life of a boulevardier (it first appeared in 1918).Number 2 of 15 copies only with… (more)

    First illustrated edition of this urbane novel of the Parisian life of a boulevardier (it first appeared in 1918).Number 2 of 15 copies only with the woodcuts on chine, numbered. 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 Cigale. by DELARUE-MARDUS, Lucie. RENEFER, illustrator. DELARUE-MARDUS, Lucie. RENEFER, illustrator. ~ La Cigale. Paris: Fayard, Le Livre de Demain, [1923].
    First edition number 2 of 15 copies only with the woodcuts on chine, numbered and signed by the artist.

    Fayard’s Livres de demain brought examples… (more)

    First edition number 2 of 15 copies only with the woodcuts on chine, numbered and 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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