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  • Le Chat [illustration for Les Fleurs du Mal]. by LYDIS, Mariette, illustrator. Charles BAUDELAIRE. LYDIS, Mariette, illustrator. Charles BAUDELAIRE. ~ Le Chat [illustration for Les Fleurs du Mal]. [Paris, 1928].
    One of 125 copies only of this original print from Dix Eaux-fortes pour illustrer Les Fleurs du Mal, Paris, 1928. (more)

    One of 125 copies only of this original print from Dix Eaux-fortes pour illustrer Les Fleurs du Mal, Paris, 1928.

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  • Tu mettrais l’univers entier dans ta ruelle [illustration for Les Fleurs du Mal]. by LYDIS, Mariette, illustrator. Charles BAUDELAIRE. LYDIS, Mariette, illustrator. Charles BAUDELAIRE. ~ Tu mettrais l’univers entier dans ta ruelle [illustration for Les Fleurs du Mal]. [Paris, 1928].
    One of 125 copies only of this original print from Dix Eaux-fortes pour illustrer Les Fleurs du Mal, Paris, 1928. (more)

    One of 125 copies only of this original print from Dix Eaux-fortes pour illustrer Les Fleurs du Mal, Paris, 1928.

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  • Candeur et Bonté ou les quatre ages d’une femme. by LEGRAND, Augustin. LEGRAND, Augustin. ~ Candeur et Bonté ou les quatre ages d’une femme. Paris: chez Louis Janet … et Pelicier, 1819.
    First and only edition of this delightful illustrated gift book, describing the four ages of women and depicting them in a series of elegant hand-coloured… (more)

    First and only edition of this delightful illustrated gift book, describing the four ages of women and depicting them in a series of elegant hand-coloured plates. The dedication printed in civilité type is to the author’s wife (and mother of his children). The final 10 pages comprise a calendar for 1820 (in common with the V&A copy). Worldcat: V&A and Landesbibliothek Mecklenburg only.

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  • Grands déplaisirs à l’occasion d’un train de plaisir ou les infortunes de Polycarpe Baboulard. by [ADAM, Victor]. [ADAM, Victor]. ~ Grands déplaisirs à l’occasion d’un train de plaisir ou les infortunes de Polycarpe Baboulard. Paris: [Maulde et Renou for] A. Marcilly, [n.d., c. 1840].
    First edition, rare. M. Baboulard is something of a dandy (notably sporting tartan trousers of a type then fashionable in both Britain and France) but… (more)

    First edition, rare. M. Baboulard is something of a dandy (notably sporting tartan trousers of a type then fashionable in both Britain and France) but he also has a wife and family of seven children and a taxing job in the ministry. Grands déplaisirs à l’occasion d’un train de plaisir is a graphic satire in the mould of Daumier on the aspirations of the newly-leisured middle classes seeking recreation on the railways. Tempted by newspaper advertisments, Baboulard books a trip to Le Havre, only to be assailed by friends and family loading him parcels, packages and a pair of dogs to deliver. The trip turns out to be a holiday from hell, and Baboulard returns to Paris duly chastened. Only one of the plates is signed by Adam, though all are demonstrably his. Among his numerous lithograph collections reflecting the rise of modernity in France this must be one of the rarest and it is especially so in coloured form. Gumuchian, Livres de l’Enfance, I, p.18. Worldcat lists the Bn copy only, there is also a copy in the National Library of Scotland (probably on account of the hero’s tartan trews).

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  • Vingt poèmes de Charles Baudelaire illustrés par Neville Lytton. by (BAUDELAIRE). BULWER-LYTTON, Neville. (BAUDELAIRE). BULWER-LYTTON, Neville. ~ Vingt poèmes de Charles Baudelaire illustrés par Neville Lytton. [France], 1934.
    A spectacular and unique interpretation of Baudelaire by Neville Lytton including twenty original watercolours with illuminated borders. Each of Lytton’s images is in the visionary… (more)

    A spectacular and unique interpretation of Baudelaire by Neville Lytton including twenty original watercolours with illuminated borders. Each of Lytton’s images is in the visionary tradition ―most have an otherworldly quality, and some border on Surrealism.The twenty poems comprise: Le Calumet de la Paix - Bohémiens en voyage - La Géante - Le Cygne - La Beauté - L’Idéal - La Vie antérieure - Sisina - Un Voyage à Cythère - XVIII - A une Passante - L’Albatros - L’Ennemi - Bien loin d’ici - Une gravure fantastique - L’Amour et le Crâne - La Cloche fêlée - Le Voyage - Le Balcon - Les Bijoux.
    Most of the poems are given in two calligraphic versions, one probably written with a steel nib, the other with an oblique nib, perhaps a quill-pen. Three poems appear in only one version: La Cloche fêlée in steel nib version only and Le Balcon and Les Bijoux only in quill pen.
    Neville Bulwer-Lytton (1879-1951) was grandson of the novelists Edward Bulwer-Lytton and Rosina Doyle Wheeler and his siblings included the suffragette Constance Lytton and Emily Lutyens. He was a man of many parts: a military officer, cricketer, Olympic athlete and artist ― educated at Eton and the École des Beaux-Arts. He was also an accomplished morris dancer and played an ivory flute.
    Among several notable portraits, he painted George Bernard Shaw in papal robes (in imitation of Velazquez) and a series of fashionable women in sumptuous velvets and silks, but he is best known for the series of First World War frescoes for the Victory Hall at Balcombe, Sussex. Throughout his career he also painted watercolour miniatures, intensely detailed with a distinctive coloration ― a style entirely suitable for these Baudelaire illustrations. His first wife was Judith Blunt, daughter of Wilfrid Scawen Blunt (divorced in 1923), and he was an important member of circles of artists and connoisseurs around the turn of the 20th century. He was friendly with Sydney Cockerell, spent weekend with the Churchills, and Eddie Marsh claimed that it was meeting Lytton that inspired his love of collecting. In 1924 Lytton married Rosa Alexandrine (Sandra) Fortel of St Rambert-en-Bugey, near Lyon and settled in France, asborbing himself deeply in French artistic culture. He wrote: ‘‘I love France because I am an artist, and in this glorious country artists are considered to be sacred --- to them gratitude is shown for the renouncing of material wealth and worldly values and the adoption of a life of struggle which as a rule is only understood by a small number of contemporaries’ (‘Reasons why I love France’ in Life in Occupied France, 1942).

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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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  • (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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  • Le Poupée bien élevée. IIe. édition. by [MALLÈS DE BEAULIEU, Jeanne Sophie, Madame]. [MALLÈS DE BEAULIEU, Jeanne Sophie, Madame]. ~ Le Poupée bien élevée. IIe. édition. Paris: [Casimir for] LeCerf and Blanchard, [n.d., c. 1820s].
    First published in 1819, Le Poupée bien élevée proved popular among children on both sides of the English Channel, with numerous editions in both French… (more)

    First published in 1819, Le Poupée bien élevée proved popular among children on both sides of the English Channel, with numerous editions in both French and English (the latter as The Well Bred Doll). Jeanne Sophie Mallès de Beaulieu (176-1825) was the author of numerous moral and entertaining stories for children including Le Robinson de douze ans (1820).

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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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  • 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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  • Journal de Christine. by [SCHALBACHER, Phillip Joseph]. [SCHALBACHER, Phillip Joseph]. ~ Journal de Christine. Paris: [Lachevardière fils for] Société reproductive des bons livres, [n.d. ?1837].
    A French edition, translated from the German original by Francois Jean Philibert Aubert de Vitry. A series of dialogues addressed to young children (a boy… (more)

    A French edition, translated from the German original by Francois Jean Philibert Aubert de Vitry. A series of dialogues addressed to young children (a boy and a girl) aged four and five, emphasising all the essential virtues of parenthood. The attractive aquatint plates were probably issued with the original edition and include several delightful family scenes. The first French edition appeared in 1825 and the date of 1837 for this reprint is taken from the Princeton Cotsen catalogue. cf. Barbier, II 1010; Querard VIII 508-10.

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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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  • Der Struwwelpeter oder lustige Geschichten und drollige Bilder für Kinder von 3—6 Jahren... 248. Auflage mit dem Jubiläums-Blatt zur hundersten Auflage. by HOFFMANN, Heinrich. HOFFMANN, Heinrich. ~ Der Struwwelpeter oder lustige Geschichten und drollige Bilder für Kinder von 3—6 Jahren... 248. Auflage mit dem Jubiläums-Blatt zur hundersten Auflage. Frankfurt: Literarische Anstalt von Rütten & Löning, [n.d., c. 1895].
    A good copy of this classic, if gruesome, children’s title. Struwwelpeter (’Shock-headed Peter’) was first published in 1845 as Lustige Geschichten und drollige Bilder –… (more)

    A good copy of this classic, if gruesome, children’s title. Struwwelpeter (’Shock-headed Peter’) was first published in 1845 as Lustige Geschichten und drollige Bilder – with its name changed to the familiar Struwwelpeter in the edition of 1858. It was thereafter reprinted in hundreds of editions worldwide before 1900. The 1876 edition added a special jubilee leaf which was reprinted in later editions, as here. Though undated, this 248th edition was printed c. 1895.

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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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  • 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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  • L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... by STELLA-BOUZONNET, Antoinette, engraver. STELLA-BOUZONNET, Antoinette, engraver. ~ L’Entrée de l’empereur Sigismond a Mantoue; gravé en vingt cinq feuillets, d’après une longue frise exécutée en stuc dans le palais du T. de la même ville, sur un dessin de Jules Romain... ‘A Paris au Galleries du Louvre... 1675 et chez Chereau et Joubert rue des Mathurins aux deux piliers dor’. [1787 or soon after].
    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of… (more)

    A RARE COLLECTION PRINTED FROM THE ORIGINAL PLATES ENGRAVED BY A PRODIGIOUSLY TALENTED FEMALE ENGRAVER. ANTOINETTE [OR ANTONIA] STELLA-BAUZONNET (1641-1676) ‘was the youngest daughter of a successful French goldsmith. Despite the restrictions placed on women in art academies at the time, her family’s prominent social status allowed her and her sisters, Françoise and Claudine, to receive private training. Her uncle Jaques Stella, a painter and close friend of Nicolas Poussin, assisted his nieces and nephew in their artwork, inviting them to live in his prestigious lodgings at the Louvre. As the youngest of the children, Antoinette was additionally trained by her older siblings. The family frequently collaborated in painting, engraving, and publishing prints. Remembered for her masterfully executed aquatints and engravings, Stella suffered a tragic fall and died in Paris at the age of 35. One of Stella’s most notable works, The Entrance of the Emperor Sigismond into Mantua, 1675, consists of 33 relief-style engravings on paper depicting crowds of men, women, children, and horses traveling alongside the emperor’ (National Museum of Women in the Arts website).

    Stella-Bouzonnet’s plates were prepared after drawings by her father Antoine Stella at Mantua. They were printed first in 1675 and were later purchased and reprinted by Joubert, with Chereau, in 1787 (and probably for some time after). In this copy their imprint line giving the date of the reprint has been erased. Each of the plates has been closely cut and mounted in a large album c. 1800. It is of a type (and condition) suggesting use as an artist’s model book.

    Both the 1675 and 1787 editions are rare.

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  • Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. by DENNE-BARON, P[ierre-Jacques-René]. DENNE-BARON, P[ierre-Jacques-René]. ~ Fleurs poétiques dédiées a S.A.R. Madame, duchesse de Berry … orné de seize gravures de fleurs coloriés. Paris: [Lachevardiere fils for] Librairie d’Alexis Eymery, 1825.
    First edition of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the… (more)

    First edition of this delightful collection of floral poetry illustrated with unusual colour printed plates, each of two or three tints probably applied to the plate simultaneously. They are described by the online catalogue of the Bibliothèque nationale as lithographs, but they appear to be a kind of stipple engraving. A couple are marked as being after drawings by Poitreau, one of the most prominent botanical artists of the era (alongside Redouté). The work is dedicated to the young salon host, collector and bibliophile, the duchesse de Berry (1798-1870).
    The plates comprise: Le lis, la rose, la violette, la fleur d’oranger, la scabieuse, le bleuet, l’immortelle, la perce-neige, le soleil, les marguerites, le laurier rose, l’hortensia, le souci, l’astérie, le pavot et le narcisse and le lilas.

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