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A catalogue of engravers, who have been born, or resided in England; digested by Mr. Horace Walpole from the Mss. of Mr. George Vertue; to which is added an Account of the life and works of the latter.

By Walpole, Horace.

London: printed for J. Dodsley, Pall-Mall, 1782. Octavo. [ii], 304, [vi]pp. With an index. Later half calf over marbled boards, repaired. With notes in the text, very much like Walpole would write in his books. However, these entries are not by Walpole. ESTC T63186..


The Oval Lady: Six Surreal Stories By Leonora Carrington.

By Carrington, Leonora.

Santa Barbara, California: Capra Press, 1975 Octavo. 52pp. No. 22 of 150 copies signed by Caarington. Green cloth with a painting by Carrington. With six illustrations by the Mexican artist, Pablo Weisz, Leonora Carrington's son. Fine copy..


Power and Gold. Jewelry from Indonesia, Malaysia and the Philippines from the Collection of the Barbier-Mueller Museum, Geneva.

By Rodgers, Susan.

Münich: Prestel-Verlag, 1988. Large quarto. 369 pages. Cloth. With the dustwrapper. Extensively illustrated in color. A beautiful book, in very good condition..


Life with Picasso

By Gilot, Françoise & Carlton Lake

New York: McGraw-Hill Book Company, 1964. Octavo. 373pp. Cloth. With the dustwrapper. With photographs. Presentation copy to Dr. John and Muriel Halick of Greenville, Michigan, with a beautiful portrait in ink on the half-title, dated Oct. 28, 1968. It is very possible that the portrait is of Muriel Halick, though I cannot attest to the veracity of this statement. Additionally, there are two photographs of Françoise Gilot tipped in. One shows her seated, working on some sort of easel, and the other shows her in front of a quasi-finished work, with a colored pen (?) in her hand, and dated Nov. 1968. Finally, there is a box of paints that she used when she was at the Halick's, with the word "Gilot" written on the upper cover. A large number of the paints, brush, cloth, etc. is still in it. The area where she mixed the colors is almost like a painting by Gilot. As for the Halick's, I quote from the Dec 15, 2014 Sotheby's Catalogue Sale of Modern Art: "… is the result of a long-standing friendship between Dr. John and Muriel Halick of Greenville, Michigan and the artist. A well respected medical physician and founding member of the Mid-Michigan Mental Health program, Dr. Halick and his wife were committed to the development of science, education and the arts, and sought to assist Gilot in promoting her artistic career in America. Numerous letters document the development of this friendship and detail the many times that Françoise visited the Halick's home in Greenville. Beginning in the the late 60s through early 70s, Dr. Halick sponsored a series of gallery shows, lectures and exhibitions of Gilot's work. The artist recalls these times fondly [in a letter dated December 12, n.d., and addressed to the Halick's], writing: "I think of you both, and all the kindness that you had for me, and it is impossible to thank you enough for all that you did for me.".


The Three Great Sanctuaries of Tuscany. Valombrosa, Camaldori, Laverna: A Poem, with Historical and Legendary Notices. By the Right Hon. Lady Charlotte Bury. Illustrated by Engravings of the Scenery from Original Drawings, by the Late Reverend Edward Bury

By Bury, Lady Charlotte [Susan Maria (Campbell)].

London: John Murray, 1833. Oblong folio. xi, [1 leaf]list of royal subscribers, 139pp. First edition. Black cloth. With frontispiece etched by Thomas Landseer & Thomas Lupton, engraved portrait of Lady Bury on India paper, mounted, & 6 sepia mezzotint plates engraved by Thomas Lupton after the drawings of Edmund Bury. NCBEL III, 713; Pine-Coffin, Bibliography of British and American Travel in Italy to 1860 8152; Jackson, Romantic Poetry by Women, p. 49 (recorded under Lady Charlotte Campbell). Lady Bury visited the three principal Sanctuaries of Tuscany, the Certosa of Valombrosa and the Convents of Camaldoli and Laverna, in the autumn of 1818. .


Specimens of the Ancient Sculpture and Painting Now Remaining in England, from the Earliest Period to the Reign of Henry VIII

By Carter, John

London: Henry G. Bohn, 1838. Large folio. [vi], 148, [vi]pp. Second edition. Contemporary half calf over marbled boards. With etched frontispiece and title, and 120 full-page etched plates, of which 25 are fully hand-colored, 10 washed with a single color, 2 are folding and 1 double-page. Universal Catalogue of Books on Art I, p. 238; Brunet I, 1604; Lowndes, 379-80. First published in parts between 1780 and 1794, Specimens was intended "to shew the rise and progress of sculpture and painting in England; to explain obscure and doubtful parts of history, and to preserve the portraits of great and eminent personages." Carter, a defender of the Gothic style, particularly for ecclesiastical architecture, "had the reputation of being 'Antiquity's most resolute friend.' He inveighed ceaselessly against the thoughtless destruction and misguided restoration of ancient buildings" (Colvin, 126)..


Histoires Naturelles. Textes choisis. Illustrés de lithographies originales par Hans Erni

By Buffon, Georges Louis Leclerc, Comte de

A Lausanne: André Gonin, 1954 Folio. [iv], 140, 1, [iii]pp. On Rives wove paper. Sheets loose as issued. Copy number XX of an edition limited to 250 copies, signed by Erni and Gonin on the justification page..


The Twelve.

By Blok, Alexander.

New York: William Edwin Rudge, 1931. Folio. No pagination. No. 80 of 100 numbered copies. Total edition consisted of 650 copies, of which 100 were numbered. Red calf over marbled boards. Top edge gilt. Slipcase. with minor defects. Illustrated with lithographs by George Biddle, one of which is signed in pencil..


Schloss Stern

By Falke, J. Von

Wien: Druck und Verkag der K. K. Hof und Staatsdruckerei, 1879. Large folio. 7pp. Loose in a portfolio. With 29 plates. Significant shipping cost, especially overseas because of size and weight..


Signorum Veterum Icones

By Bisschop, Jan de

n.p. [Amsterdam]: [Hendrik de Leth], n.d. [1670(?)]. Quarto. Has illustrated etched half-title: Signorvm vetervm icones. Some copies of this book have a few pages of introductory text in Latin and Dutch, but these leaves were not issued with all copies. Modern red goatskin. Fillet borders. With 100 engraved plates. Universal Catalogue of Books on Art I, p. 117; Bibliothèque Nationale 150, 337; Thieme-Becker 22, 235; Hollstein, Dutch & Flemish etchings, engravings and woodcuts c.1450-1700.6; Le Blanc, Charles, Manuel de l'Amateur d'Estampes 1550-1820.5. .


The Satirical Etchings of James Gillrary

By Hill, Draper, editor

New York: Dover Publications, Inc., 1976. Large quarto. xxxii, 142 pages. Decorated stiff paper wrappers. With 8 colored and 96 black-and-white illustrations..


Memorandum Against the Imposition of Any Duty on Original Works of Art.


New York: N.p., N.d. Octavo. 27pp. Wrappers. With two and a half pages of typescript material relating to the case signed by Quinn. John Quinn (1870-1924) was a corporate lawyer in New York, who is best remembered as a major patron of modern art, and a significant collector of British and Irish literature. He was one of the organizers and the spokesperson for the 1913 Armory Show (The International Exhibition of Modern Art) in New York. Coincidentally, in the same year, he convinced the United States Congress to overturn the 1909 Tariff Law, which retained the duty on foreign works of art less than twenty years old and which discouraged collecting modern European art. The Memorandum was the legal brief presented on behalf of museums, art leagues, art associations, and art dealers. The attached two and a half pages are from a thirteen-page letter, where he refers to the brief, his success with the United States Senate, and his forthcoming fight, on the same topic, in the United States House. He closes his letter confidently with the following words, "That fight is still to be won, but I think I shall win it." .


A Sentimental Journey through France and Italy

By Sterne, Laurence

Paris: The Black Sun Press, 1929. Octavo. xii, 195pp. Limited to 335 copies. Wrappers. Glassine wrappers also present. Slipcase, with some minor cracks and staining. Illustrated by Polia Chentoff.


An ansvver to the eighth chapter of the Representer’s second part. In the first dialogue between him and his lay-friend. Licensed, March 1. 1686


London : printed for William Rogers, at the Sun over-against St. Dunstan’s Church, in Fleetstreet, MDCLXXXVII. [1687]. Quarto. [2], 10pp. Contemporary calf, repaired. With the armorial bookplate of Thomas Bramston of Skreens. Wing T283A. Bound with: Gother, John. The Catholic representer; Williams, John. The papist represented, and not misrepresented; Gother, John. An amicable accommodation; Sherlock, William. An ansvver to the Amicable accommodation; Gother, John. A reply to The answer of the Amicable accommodation; Gother, John. Good advice to the pulpits; Williams, John. An Apology for the Pulpits; Tenison, Thomas. A Defence of Dr. Tenison's Sermon; Gother, John. Pulpit-Sayings; Williams, John. Pulpit-Popery.


L'Architettura di M. Vitruvio Pollione colla traduzione Italiana e comento del Marchese Berardo Galiani ...

By Vitruvius, Marcus Pollio.

In Napoli: Nella Stamperia Simoniana, 1758. Folio. [vi], xxxii, 462pp. []3, a4-d4, A4-Z4, Aa4-Zz4, Aaa4-Mmm4 (Mmm4 blank). Historiated woodcut initials. Quarter calf over cloth-covered boards. Bottom of spine slightly worn, lower end of upper cover bumped and a small part of the hinge cracked. With textual engravings and 25 folding plates. Engraved frontispiece in facsimile..


Traité de la Peinture, par Léonard de Vinci.

By Vinci, Léonard de.

Paris: Chez Deterville, An IV [1796]. Octavo. [ii], lix, 333pp. []2, a8-c8, d6, A8-X8 (X8 blank). With the half-title present. New edition. Nineteenth-century quarter black morocco over black cloth, repaired. With 34 plates, some folding and woodcut illustrations in the text. Brunet V, 1258. Old and faded stain to first 40 to 50 leaves. .


Sculptura-historico-technica: or The history and art of ingraving

London: Printed for S. Harding, on the Pavement in St. Martin's-Lane, 1747. Octavo. xii, 112, [i], 112-225, [i]pp. A6, B12-K12, L6 (- L6 blank). First edition. With a folding chart at the end. Publisher's advertisement, [1] p. at end. Pages 111-112 repeated in numbering; signature F has 13 leaves. Contemporary calf, double rule fillets, repaired. With ten engraved plates of the techniques of engraving. Large folding letterpress table of artists bound between pp. 162 & 163, and numerous metalcut artists' marks and cyphers to the text. Bigmore & Wyman II, 332; Levis, The Bibliography of Engraving, p. 37; ESTC T84861. From the library of Sir Edward Littleton, Barrister..


Del Teatro Olimpico di Andrea Palladio in Vicenza

By Montenari, Giovanni

Padova: Stamperia del Seminario, 1749. Octavo. xii, [4], 153pp. a8, A8-I8, K8, []1. Second edition. Rebound in calf. With a frontispiece portrait of Palladio and 5 folding plates. The plates show plans, interior views, with one analysing the proportions of the columns. Berlin Katalog 2803; Cicognara 767. Not in Millard, or Schlosser-Magnino..


Galliae antiquitates quaedam selectae atque in plures epistolas distributae

By Maffei, Scipione

Parisiis: sub oliva Caroli Osmont, 1733. Quarto. viii, 174pp. []2, a4, A4-Y4, Z2. First edition. Vignette on the title-page. With the half-title present. Title-page in red-and-black. With 3 leaves concerning the announcement of the publication of the complete works of St Jerome by the publishers Vallarsi and Berno of Verona. Contemporary calf, rebacked poorly, with parts of the original spine retained. With a vignette on the title-page, 8 engravings in the text, and 2 folding plates. Quérard, V., 424; Brunet, II, 1467..


Zergliederung der Schönheit, die schwankenden Begriffe von dem Geschmack festzusetzen

By Hogarth, William

Berlin und Potsdam: bey Christian Friederich Voß, 1754. Quarto. [28], viii, 111, [1]pp. a4-c4, d2, A4-P4. Contemporary half calf over boards, repaired. With a woodcut title vignette and two folding copperplates. First German translation of the 'Analysis of Beauty.' Goedeke IV/1,367,56; Müncker 360; Seifert 1732; Books on Art I, 848..


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