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 BALFOUR, RONALD, ILLUSTRATOR; KHAYYAM, OMAR, Rubáiyát of Omar KhayyáM
BALFOUR, RONALD, ILLUSTRATOR; KHAYYAM, OMAR
Rubáiyát of Omar KhayyáM
London: Constable and Company Limited, 1920. A Beautifully Illustrated Rubiyt of Omar Khayyam One of Fifty Copies Printed on Japon and Signed by Ronald Balfour BALFOUR, Ronald, Illustrator. KHAYYM, Omar. Rubiyt of Omar Khayym. Illustrated by Ronald Balfour. London: Constable and Company Limited, 1920. First edition thus, limited to fifty copies signed by Ronald Balfour, this being copy no. 37. Printed on Japanese vellum paper with an additional color illustration. Folio (12 1/8 x 8 3/4 inches; 309 x 222 mm.). [ii, blank], [viii], 152 unnumbered pages. With 6 tipped-in full color plates, 1 full-page color illustration (opposite title-page) heightened in gilt and watercolor with original tissue-guard, 14 tipped-in two color plates, 18 tipped-in black and white plates, and numerous black and white text illustrations throughout. Publisher's quarter black buckram over straw textured cloth beveled boards, front cover and spine lettered in gilt, top edge gilt, others uncut. Minimal rubbing to corners, still an an exceptionally fine example of a very rare edition. Ronald Egerton Balfour (1896-1941). The work of this illustrator is not as well-known as it should be - most likely because this 1920 edition of the Rubiyt is his sole major work according to a recent feature in Book & Magazine Collector. The illustrations were produced when he was just twenty-four years old and while the drawing can be considered uncertain in places, they are really splendid examples of the post-Beardsley and later Alastair style, owing far more to Beardsley flourishes and details than to the usual Arabian exotica found in other Rubiyt adaptations. Here we see a combination of Orientalist fantasy and Art Deco opulence with a profusion of peacocks and winged figures.. Rubiyt of Omar Khayym is the title that Edward FitzGerald gave to his 1859 translation from Persian to English of a selection of quatrains attributed to Omar Khayyam (1048-1131), dubbed "the Astronomer-Poet of Persia". FitzGerald's work has been published in several hundred editions, and it has inspired similar translation efforts in English and in many other languages. The authenticity of the poetry attributed to Omar Khayyam is highly uncertain. Omar was famous during his lifetime not as a poet but as an astronomer and mathematician. The earliest reference to his having written poetry is found in his biography by al-Isfahani, written 43 years after his death. This view is reinforced by other medieval historians such as Shahrazuri (1201) and Al-Qifti (1255). Parts of the Rubaiyat appear as incidental quotations from Omar in early works of biography and in anthologies. .
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Book number: 04769
USD 4250.00 [Appr.: EURO 3588.75 | £UK 3290 | JP 444364]
Keywords: KHAYYAM, Omar Persian Literature Signed Limited Edition

 GOLDEN COCKEREL PRESS; OMAR KHAYYAM; BATEMAN, J. YUNGE, ILLUSTRATOR, Rubáiyát of Omar KhayyáM
GOLDEN COCKEREL PRESS; OMAR KHAYYAM; BATEMAN, J. YUNGE, ILLUSTRATOR
Rubáiyát of Omar KhayyáM
[London]: The Golden Cockerel Press, 1958. A book, a woman, and a flask of wine: The three make heaven for me; it may be thine Is some sour place of singing cold and bare - But then, I never said thy heaven was mine. GOLDEN COCKEREL PRESS. BATEMAN, J. Yunge, illustrator. OMAR KHAYYM. The Rubiyt of Omar Khayym. Edward Fitzgerald's Translation Reprinted from the first edition with his preface and notes. Drawings by J. Yunge Bateman. [London]: The Golden Cockerel Press, 1958. One of 75 specially bound copies (of which this is no. 9) but without the extra set of seven plates together with two more that are not printed in the book. Folio (12 1/4 x 7 1/2 inches; 311 x 191 mm.). 35, [1, blank] pp. Copper engraved vignette title-page and six full-page copper engraved plates. Publisher's full red morocco, covers with two different designs in the shape of a goblet outlined in gilt of 'the woman holding the wine'. Smooth spine lettered in gilt, top edge gilt, others uncut. Some small marks to top of front cover, and some slight surface loss to leather on lower top corner otherwise near fine. "The John Buckland-Wright illustrated Golden Cockerel's 1938 edition of the Rubaiyat went out of print quickly; Christopher Sanford, the current proprietor of the press decided to republish with a new illustrator with copper engravings." (Cock-A-Hoop, 208). "Sandford found J. Yunge Bateman's drawings 'enticingly lush'.." (Cave & Manson, p.223). Cave & Manson, 208; Franklin, p.231; Cock-A-Hoop, 208. .
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Book number: 04552
USD 650.00 [Appr.: EURO 549 | £UK 503.25 | JP 67962]
Keywords: OMAR KHAYYAM BATEMAN, J. Yunge, illustrator Fine Bindings Fine Printing Persian Literature Poetry

 BAYNTUN, BINDER; JAMES, GILBERT, ILLUSTRATOR, Rubáiyát of Omar KhayyáM, the
BAYNTUN, BINDER; JAMES, GILBERT, ILLUSTRATOR
Rubáiyát of Omar KhayyáM, the
London: George Routledge and Sons, Limited, 1904. A Spectacular Early Bayntun Binding on a Finely Printed Rubaiyat Illustrated by Gilbert James Deluxe Edition with the Twelve Photogravure Plates Hand -Colored BAYNTUN, binder. The Rubiyt of Omar Khayym. Translated by Edward Fitzgerald. Translated by Edward Fitzgerald. With Twelve Hand-colored Plates after Drawings by Gilbert James. London: George Routledge and Sons, Limited, [ca. 1904-1908]. Deluxe edition of 250? copies with the photogravure plates hand colored. Small quarto (7 13/16 x 5 7/16 inches; 199 x 139 mm.). 159, [1] pp. Twelve fine hand-colored photogravure plates including frontispiece, all with original tissue-guards. Bound by Bayntun of Bath ca. 1910 (stamp-signed in gilt on front turn-in). Full turquoise crushed levant morocco, front cover double-ruled in gilt surrounding two elaborate wide borders of grapevines inlaid in purple, brown and dark green morocco's within a border of elaborate gilt pointille. The large center panel with an inlaid multi-colored morocco and gilt decorated figure based on the hand-colored frontispiece. Above and below the inlaid figure are two panels enclosing the the title in decorative gilt. Lower cover bordered in gilt and black. Spine with five raised bands, decoratively inlaid with leaves and bunches of grapes in dark green and purple morocco's. Five of the panels with elaborate gilt pointille, the remaining one lettered in gilt. Gilt ruled board-edges, and turn-ins, cream watered silk liners and end-leaves, all edges gilt. A spectacular example of an early 'Bayntun Rubaiyat'. Housed in a later? fleece-lined blue cloth slipcase. Gilbert Penrose JAMES (1865-1941)was one of the earliest and most prolific of the artists to take up the challenge of providing illustrations for FitzGerald's verses and his work was reprinted many times in different forms during the twentieth century. Twelve drawings were used in the photogravure edition of The Rubaiyat of Omar Khayyam (George Routledge & Sons Ltd. London, and E.P. Dutton & Co. New York 1904). The drawings were here related to FitzGerald's first edition, and were prefaced simply with FitzGerald's own introduction. The photogravure edition gives us some measure of James's commercial success at this time, for it ran to several editions involving at least 18,000 copies by 1912. Routledge also issued a deluxe edition of this (in 1908 ?), in a fine binding, and in which the twelve drawings were hand-colored. Born in West Derby, Liverpool, he worked as a clerk in a corn merchant's office, and became a close friend of the artist Sidney H. Sime, who is best known today for his extraordinary fantasy illustrations. Whether or not the two things are connected is unclear, but James did turn from office work to art. He seems to have exhibited three pictures at the Walker Art Gallery in Liverpool - in 1889 and 1890 as Gilbert James, and in 1892 as Gilbert P. James. In about 1891 he moved to Gerrard Street, Soho, London, registering in the census of that year as "a student in painting". Once in London, he began to contribute black and white illustrations to a number of magazines, his first recorded publication was in Shorter's newspaper, The Sketch, in May 1894. Throughout the rest of the 1890s he was a prolific magazine illustrator including, some of his Rubaiyat illustrations. He also contributed to The Idler, The Pall Mall Magazine, Black and White, The Butterfly, The Ludgate Monthly, Pick-me-up, The Quartier Latin and - two more of Shorter's publishing ventures - The Tatler and The Sphere. For The Tatler he did at least two other Rubaiyat illustrations, including a cartoon which parodied verse 11 of the first edition by including a gramophone in place of Omar's singing beloved!; and for The Sphere he did at least two further Rubaiyat illustrations. He was a busy man, and, some time before 1901, had set up a studio in 10 Fitzroy Street (now demolished), just off Tottenham Court Road, thus becoming, literally, a neighbour of Whistler, who lived for a while at no. 8 (also now demolished.) (In 1909, Whistler having long moved out, Walter Sickert was to move in. It was an artistic neighbourhood!) This was to remain James's address - at least officially - for the rest of his life. (With thanks to Bob Forrest). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04729
USD 9500.00 [Appr.: EURO 8021.75 | £UK 7354 | JP 993284]
Keywords: JAMES, Gilbert, illustrator Fine Bindings Persian Literature Poetry

 [BAYNTUN, BINDER]; POGANY, WILLY; WAGNER, RICHARD; ROLLESTON, T.W., Tale of Lohengrin, the
[BAYNTUN, BINDER]; POGANY, WILLY; WAGNER, RICHARD; ROLLESTON, T.W.
Tale of Lohengrin, the
London: G.G. Harrap, 1913. A Superb Early Bayntun Inlaid Binding On One of Willy Pogany's Masterpieces BAYNTUN, binder. POGANY, Willy (illustrator). WAGNER, Richard. ROLLESTON, T.W. The Tale of Lohengrin, Knight of the Swan after the Drama of Richard Wagner by T.W. Rolleston. Presented by Willy Pogany. London: G.G. Harrap, n .d. [1913]. First trade edition. Quarto (10 x 7 1/4 inches; 254 x 184 mm.). 192 unnumbered pages. Eight tipped-in color plates including frontispiece with original tissue guard, numerous full page color illustrations, calligraphic text, head- tailpieces; an image on every page. Printed on heavy gray stock. Some minor discoloration to first three and last three leaves, otherwise fine. Bound ca. 1930 by Bayntun of Bath (stamp-signed in gilt on front turn-in). Full black morocco, covers with single gilt rule, front cover with multi color morocco inlays reproducing the illustration on page [53]. Spine with five raised bands, decoratively tooled and lettered in gilt in compartments. Decorative gilt board edges, gilt ruled turn-ins, blue cockerel endpapers, all edges gilt. Housed in the original blue cloth over boards clamshell case. The design on the front cover is taken from the illustration on p. [53]. "And then aloud spake she- "O King, a champion waits the hoar To take my part with godlike power, And my Deliverer be. "In dreams I saw him; silver-bright His jewell'd armour shone. His sword was as a beam of light, His crest a silver swan. "He is my Lord, he is my King. And his till death am I. Come, Victor, Lord, the hoar is near- Oh hear thy poor maid's cry!"" William Andrew ("Willy") Pogany (born Vilmos Andreas Pogny) (August 1882 - 30 July 1955) was a prolific Hungarian illustrator of children's and other books. Pogany's best known works consist of illustrations of classic myths and legends done in the Art Nouveau style. He also worked as an art director on several Hollywood films, including Fashions of 1934 and Dames. The publication of Pogny's Lohengrin was the final act in his trilogy of masterworks focused on Wagner's Germanic tales, and one of the quintet that is considered his finest work. Pogny clearly approached the commission to illustrate Lohengrin as an opportunity to improve and extend techniques that he had developed through his preceding work, particularly The Rubiyat of Omar Khayym, The Rime of the Ancient Mariner, Tannhuser and Parsifal, the other four books that immortalized his career as an illustrator. That commitment to ongoing innovation resulted in an incredible suite of illustrations, including color lithographs, monotone and marginal illustrations and the delightful tipped-in color plates (produced with a four-color process) included in Lohengrin. Themes of medieval chivalry, erotic love and moral tests are illustrated in a lavish fashion by Pogny with an outstanding use of iconography, form and color.'. .
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Book number: 04916
USD 4500.00 [Appr.: EURO 3799.75 | £UK 3483.5 | JP 470503]
Keywords: POGANY, Willy WAGNER, Richard ROLLESTON, T.W. Fine Bindings German Literature Poetry

 BAYNTUN, BINDER; GOLDSMITH, OLIVER; POIRSON, VICTOR-ARMAND, ILLUSTRATOR, Vicar of Wakefield, the
BAYNTUN, BINDER; GOLDSMITH, OLIVER; POIRSON, VICTOR-ARMAND, ILLUSTRATOR
Vicar of Wakefield, the
London: John C. Nimmo, 1886. A Superb Early Example of a Bayntun 'Inlaid' Binding BAYNTUN, Binder. GOLDSMITH, Oliver. The Vicar of Wakefield. With prefatory memoir by George Saintsbury. And One Hundred and Fourteen Coloured Illustrations. London: John C. Nimmo, 1886. Large octavo (9 3/4 x 6 3/8 inches; 247 x 162 mm.). [iv], [xvi], [1], [1, blank], 291, [1, blank] pp. Illustrated throughout with over one hundred and forty delicately colored text illustrations by Victor-Armand Poirson. Handsomely bound ca. 1900 by Bayntun (stamp-signed in gilt on front turn-in) "Bayntun, Binder, Bath, Eng." Full red crushed levant morocco, covers decoratively tooled in gilt, front cover with a superb figure of 'The Vicar' on horseback inlaid in several different colored morocco's. Spine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt-ruled board-edges and turn-ins, pink marbled paper liners and end-leaves, all edges gilt. A superb early example of a Bayntun 'inlaid' binding. Fine. "The Vicar of Wakefield is a novel by Irish writer Oliver Goldsmith. It was written in 1761 and 1762, and published in 1766, and was one of the most popular and widely read 18th-century novels among Victorians. The novel is mentioned in George Eliot's Middlemarch, Jane Austen's Emma, Charles Dickens' A Tale of Two Cities and David Copperfield, Mary Shelley's Frankenstein, Sarah Grand's The Heavenly Twins, Charlotte Bront's The Professor and Villette, Louisa May Alcott's Little Women and in Johann Wolfgang von Goethe's The Sorrows of Young Werther, as well as his Dichtung und Wahrheit." (Wikipedia). Victor-Armand Poirson (1858-1893) was a French artist and illustrator of comic genre subjects. He illustrated The Vicar of Wakefield byOliver Goldsmith in 1886, Salammbo by Gustave Flaubert in 1887, The Donkey of Lucius (translation of Paul-Louis Courier ) in 1887, The War of Carlo Monge in 1886, The Tale of the Archer by Armand Silvestre in 1883 (engraved watercolors by Gillot). He worked for the illustrated newspapers Modern Life , The Black Cat or The Journal of Youth and he contributed to The Graphic, 1888-89. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04557
USD 3250.00 [Appr.: EURO 2744.25 | £UK 2516 | JP 339808]
Keywords: GOLDSMITH, Oliver POIRSON, Victor-Armand, illustrator Fine Bindings Eighteenth-Century Literature Irish Literature

 BEAUMONT, CHARLES-ÉDOUARD DE, Au Bal Masqué
BEAUMONT, CHARLES-ÉDOUARD DE
Au Bal Masqué
Paris: Au Bureau du Charivari, Maison Martinet, 1848. Charles-dourd de Beaumont's Au Bal Masqu - At the Masked Ball BEAUMONT, Charles-douard de. Au Bal Masqu. [At the Masked Ball] Album par Beaumont. Paris: Au Bureau du Charivari, Maison Martinet, [1848]. [First Series]. Quarto (13 1/4 x 10 inches; 336 x 254 mm.). Pictorial lithograph title-page and thirty superb lithograph plates. Some light foxing (mainly marginal) to a few plates, otherwise fine. Later violet cloth over boards, spine lettered in gilt. Publisher's pictorial yellow wrappers bound in. This exceptionally rare album of lithographs echoes that of Gavarni who dedicated works of the same theme at the same time. Mr. Descamps-Scrive who had a colored copy of the same thirty prints prints of this album indicated that the date was "towards 1860" (catalog Descamps-Scrive, second part). OCLC locates just two complete copies in libraries and institutions worldwide, both at The Morgan Library & Museum (NY, USA), one of which appears to be partially colored. Charles-douard de Beaumont (1819-1888) was one of the great caricaturists and lithographers that illustrated the beautiful pages of Charivari and other fashionable image journals. He produced all the illustrations for the picturesque Revue, Le Diable Amoureux (The Devil in Love) and many of the illustrations for the 1844 edition of Victor Hugo's Notre-Dame de Paris. Often criticized for drawing too much inspiration from Paul Gavarni, he published between 1228 and 1273 lithographs in the years 1842 to 1866. He was often criticized for drawing too much inspiration from Paul Gavarni. In 1879 he co-founded the Societe d'Aquarellistes Francais in 1879, where he exhibited several watercolors Masquerades were popular imagery in France at this time, which suggests that de Beaumont might have implied that the latent qualities of the masquerade, such as anonymity, deceit, promiscuity and superficiality, equally exist in more everyday settings. Additionally, because masked balls were contexts that permitted forms of interaction and intimacy otherwise prohibited, they can be regarded as occasions where gender and sexual norms could be transgressed. De Beaumont's satirical images of gender relations are not always as progressive as this description of the series might suggest. In 1848, after Au Bal Masqu, de Beaumont stopped depicting women in acceptable female roles and instead reconnected them to the role of prostitute. He would also reverse their gender roles to support an antifeminist backlash prompted by a conservative political climate. Out of this same school of thought, de Beaumont authored a book titled The Sword and Womankind that attributes a range of historical calamities to the deeds of wayward women. For example, depictions of women castrating men and enacting other violent acts spread from the belief that women were responsible for the failure of the 1848 revolution. While the prints from Au Bal Masqu may not depict these same sentiments, it satirizes diversions from gender norms while also depicting women outside of the domestic sphere, behaving contrary to traditional social expectations. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04619
USD 2750.00 [Appr.: EURO 2322.25 | £UK 2129 | JP 287530]
Keywords: Books in French Caricatures

 [LIMITED EDITIONS CLUB]; VIRGIL (PUBLUIS VIRGILIUS MARO); BRAMANTI, BRUNO, ILLUSTRATOR, Georgics, the
[LIMITED EDITIONS CLUB]; VIRGIL (PUBLUIS VIRGILIUS MARO); BRAMANTI, BRUNO, ILLUSTRATOR
Georgics, the
Verona: Printed for the members of he Limited Editions Club at the Officina Bodoni, 1952. Signed by the Artist Bruno Bramanti and the Printer Giovanni Mardersteig VIRGIL (Publuis Virgilius Maro). BRAMANTI, Bruno, illustrator. The Georgics. Translated into English Verse by John Dryden. Verona: Printed for the members of he Limited Editions Club at the Officina Bodoni, 1952. Limited to 1500 numbered copies signed by the artist, Bruno Bramanti, and printer, Giovanni Mardersteig, this being copy no. 1201. Quarto. xv, [1], 154, [4] pp. Full-page, text, and tailpiece woodcut illustrations. Publisher's quarter green cloth over patterned paper boards. A fine copy. Housed in the publisher's slipcase. .
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Book number: 02484
USD 200.00 [Appr.: EURO 169 | £UK 155 | JP 20911]
Keywords: VIRGIL (Publuis Virgilius Maro) BRAMANTI, Bruno, illustrator Classical Literature Signed Limited Edition

 [LIMITED EDITIONS CLUB]; BRAMANTI, BRUNO, ILLUSTRATOR; VIRGIL (PUBLUIS VIRGILIUS MARO), Georgics, the
[LIMITED EDITIONS CLUB]; BRAMANTI, BRUNO, ILLUSTRATOR; VIRGIL (PUBLUIS VIRGILIUS MARO)
Georgics, the
Verona: Printed for the mambers of he Limited Editions Club at the Officina Bodoni, 1952. Signed by the Artist Bruno Bramanti and the Printer Giovanni Mardersteig VIRGIL (Publuis Virgilius Maro). BRAMANTI, Bruno, illustrator. The Georgics. Translated into English Verse by John Dryden. Verona: Printed for the members of he Limited Editions Club at the Officina Bodoni, 1952. Limited to 1500 numbered copies signed by the artist, Bruno Bramanti, and printer, Giovanni Mardersteig, this being copy no. 1456. Quarto. xv, [1], 154, [4] pp. Full-page, text, and tailpiece woodcut illustrations. Publisher's quarter green cloth over patterned paper boards. A fine copy. Housed in the publisher's slipcase. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 02485
USD 200.00 [Appr.: EURO 169 | £UK 155 | JP 20911]
Keywords: BRAMANTI, Bruno, illustrator VIRGIL (Publuis Virgilius Maro) Classical Literature Signed Limited Edition

 BULL, RENÉ, ILLUSTRATOR; MÉRIMÉE, PROSPER; JOHNSON, A.E., Carmen
BULL, RENÉ, ILLUSTRATOR; MÉRIMÉE, PROSPER; JOHNSON, A.E.
Carmen
London: Hutchinson & Co. 1916. With Sixteen Full-Page Color Plates by Ren Bull [BULL, Ren, illustrator]. MRIME, Prosper. Carmen. Translated by A.E. Johnson. With Pictures by Ren Bull. London: Hutchinson & Co. [n.d, 1916]. First trade edition. Quarto (10 13/16 x 8 7/16 inches; 275 x 214 mm.). [2, blank], x, 204 pp. Color frontispiece and fifteen color plates, with descriptive tissue guards. Seventy-four black and white illustrations in the text. Publishers red cloth over boards pictorially stamped and lettered in gilt on front cover and spine. Gray and white pictorial endpapers. Top edge gilt, others stained red. Gilt on spine dull, some light wear to extremities, neat ink inscription dated 1917 on front free endpaper, and another ink inscription on front blank leaf. A good copy of an uncommon book. Rene Bull's vibrant illustrations perfectly capture the intense drama of love and jealousy in Prosper Mrime's tale which was the basis for Georges Bizet's opera of the same title. Ren Bull (d. 1942) "was born in Ireland and went to Paris to study engineering, but left this for art work in London, 1892. After working for various magazines, he was appointed 'special' for Black and White, 1896, attending the Armenian massacres and the Graeco-Turkish War as artist..He served in the First World War in RNVR, 1916, and RAF, 1917. Bull was one of the most versatile specials because his stature as an artist was above average. Not only an accurate reporter, he was a talented comic draughtsman and a brilliant illustrator of fairy stories" (Houfe, The Dictionary of 19th Century British Book Illustrators, p. 81). Works illustrated by Bull include: La Fontaine's Fables (1905), Uncle Remus, by Joel Chandler Harris (1906), The Arabian Nights (1912), The Russian Ballet by A.E. Johnson (1913), Rubiyt of Omar Khayym (1913), Carmen, by Prosper Mrime (1916), and Travels into Several Remote Nations of the World, by Jonathan Swift (1928). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03527
USD 250.00 [Appr.: EURO 211.25 | £UK 193.75 | JP 26139]
Keywords: Mrime, Prosper Johnson, A.E. Signed Limited Edition Illustrated Books French Literature European Literature French Literature Music

 CLARKE, HARRY, ILLUSTRATOR; ANDERSON, HANS CHRISTIAN, Fairy Tales by Hans Andersen
CLARKE, HARRY, ILLUSTRATOR; ANDERSON, HANS CHRISTIAN
Fairy Tales by Hans Andersen
London: George G. Harrap & Company, 1916. The Rarest of all Harry Clarke's Signed Limited Editions [CLARKE, Harry, illustrator]. ANDERSEN, Hans Christian. Fairy Tales by Hans Christian Andersen. Illustrated by Harry Clarke. London: George G. Harrap & Company, [1916]. Edition De Luxe limited to 125 copies signed by Harry Clarke (this being No. 42). Large quarto (11 1/8 x 7 5/8 inches; 283 x 194 mm.). 319, [1] pp. Sixteen mounted color plates (all with captioned tissue guards), twenty-four black and white plates, and ten decorative tail-pieces, mostly repeated throughout the text. Additional line drawings for the frontispiece, title-page, list of illustrations, self-portrait tail-piece, and "The Tinder-Box" title-piece. Publisher's white vellum over boards, front cover and spine decoratively stamped and lettered in gilt, top edge gilt, others uncut. Scattered light foxing throughout not affecting any of the color or black and white plates. Aside from the foxing this is a fine copy, with the the gilt decoration on the vellum covers bright and fresh. The rarest of all the Harry Clarke signed limited editions. "Harrap published Hans Andersen's Fairy Tales in a limited, signed and numbered edition of 125 copies, bound in vellum and printed on rag paper, at 3 guineas for circulation in England and America.. Harrap's prospectus introduced Harry Clarke as.. "Mr. Clarke brings to Hans Andersen an entirely fresh interpretation, and he appeals to the intellectual emotions of art-lovers, who will find in his work satisfaction of their craving for new and unconventional treatment of themes which may never be exhausted while the spirit of life exists in art. Mr. Clarke is a craftsman who devotes to each drawing an infinity of pains which is little less than marvelous, and it is difficult to know which to admire most-his fresh conceptions or his delicate and intricate detail. The latter feature, by the way, has necessitated a very considerable amount of hand-graving upon the colour blocks, and these give, therefore, much more than the usual mechanical reproductions of the artist's drawings.. In all the book contains Forty full-page illustrations and a number of Decorative Tailpieces, etc. There are Sixteen Colour Plates, in which the colouring is as rich and original as would be expected from an artist whose black line work is as suggestive of riotous colouring as it is of ideas.. The letter-press comprises 24 of the choicest stories of Andersen."" (Prospectus, quoted in Bowe on p. 40). Bowe, p. 149, no. 2; Douglas Hyde Gallery. Harry Clarke Monograph, No. 27. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04878
USD 9500.00 [Appr.: EURO 8021.75 | £UK 7354 | JP 993284]
Keywords: ANDERSON, Hans Christian Fairy Tales Signed Limited Edition

 CRUIKSHANK, GEORGE; BLANCHARD, LAMAN; BIRDSALL, BINDER, George Cruikshank's Omnibus
CRUIKSHANK, GEORGE; BLANCHARD, LAMAN; BIRDSALL, BINDER
George Cruikshank's Omnibus
London: Tilt and Bogue, 1842. George Cruikshank's Omnibus First Edition, Finely Bound by Birdsall of Northampton [CRUIKSHANK, George]. George Cruikshank's Omnibus. Illustrated with one hundred engravings on steel and wood. Edited by Laman Blanchard. London: Tilt and Bogue, 1842. First edition. Large octavo (9 3/8 x 5 3/4 inches; 238 x 146 mm.). [viii], 300 pp. Engraved portrait, engraved pictorial preface, twenty engraved plates and seventy-eight woodcuts in the text. Bound ca. 1910 by Birdsall of Northampton (stamp-signed in gilt on front turn-in). Full dark green morocco, covers with multiple gilt borders and corner decorations, spine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt board edges and decorative gilt turn-ins, marbled end-papers, top edge gilt, others uncut. Original gilt decorated dark green cloth front cover and spine bound in at end. Minimal fading to spine otherwise fine. "First issued in nine monthly parts from May 1841 to January 1842. The bound volumes were first issued in green and subsequently red cloth.. Of the 22 engravings on steel and the 78 woodcuts, all are by G.C. with the exception of three of the steel engravings.." (Cohn). Cruikshank became increasingly disenchanted with the publisher Bentley while working with William Harrison Ainsworth illustrating his novels. Despite financial woes and the illness of his wife, Cruikshank separated from Bentley and became attached to secondary publishers like Tilt and Bogue. In May, 1841, he started Omnibus as his personal outlet. Laman Blanchard was the editor and Ainsworth the sub-editor. Other authors include Merle, Marryat, Thackeray and "Bowman Tiller." It had the characteristic comic cover of the rear of a crowded omnibus pulling away. George drew the image and it was engraved by his nephew Percy Cruikshank, although George was angry with him for calling himself "Cruikshank the Younger. "The contents are articles in a comic vein including a serialized novel and the miscellany entitled "Omnibus Chat." Cohn, 190. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04316
USD 1250.00 [Appr.: EURO 1055.5 | £UK 967.75 | JP 130695]
Keywords: BLANCHARD, Laman BIRDSALL, binder Fine Bindings Caricatures

 CRUIKSHANK, GEORGE; JERROLD, BLANCHARD, Life of George Cruikshank in Two Epochs, the
CRUIKSHANK, GEORGE; JERROLD, BLANCHARD
Life of George Cruikshank in Two Epochs, the
London: Chatto and Windus, 1882. The Standard Authority For Over A Century Handsomely Bound by Rivire for Henry Sotheran [CRUIKSHANK, George]. JERROLD, Blanchard. The Life of George Cruikshank in Two Epochs. With Numerous Illustrations. In Two Volumes. London: Chatto and Windus, 1882. First edition. Two octavo volumes (7 3/8 x 5 inches; 187 x 127 mm). xvi, 284; viii, 280 pp. Eighty-four black and white illustrations including two frontispieces and twenty plates. Bound ca. 1882 by Rivire in full red morocco, spines with five raised bands lettered in gilt in compartments, gilt ruled board edges, decorative gilt turn-ins, marbled end-papers, top edge gilt, others uncut. Stamped in gilt on front turn-ins "H. Sotheran & Co. London". A fine set. "Jerrold's two volumes reigned for over a century as the standard authority" (Patten), until Patten's definitive two-volume biography, George Cruikshank's Life, Times, and Art (1996). Blanchard Jerrold (1826-1884), journalist and playwright, was acquainted with Cruikshank through his father, Douglas, a friend of Cruikshank and also a journalist and playwright. "In London Jerrold belonged to a set of young bohemian journalists, miscellaneous writers, and general bons viveurs, including George Augustus Sala, Peter Cunningham, and two of Dickens's younger brothers, that met to dine 'three or four nights a week at certain favourite restaurants'". (G. A. Sala, Life and Adventures, 1, 1895, 441). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04315
USD 1250.00 [Appr.: EURO 1055.5 | £UK 967.75 | JP 130695]
Keywords: JERROLD, Blanchard Fine Bindings Biography Caricatures

 CRUIKSHANK, GEORGE, ILLUSTRATOR; ROSCOE, THOMAS, Tales of Humour, Gallantry, & Romance
CRUIKSHANK, GEORGE, ILLUSTRATOR; ROSCOE, THOMAS
Tales of Humour, Gallantry, & Romance
London: Printed for Charles Baldwyn, 1824. George Cruikshank's Own Copy Signed and Dated by Him on the Title-Page CRUIKSHANK, George, illustrator. [ROSCOE, Thomas]. [Italian Tales]. Tales of Humour, Gallantry, & Romance, Selected and Translated from the Italian. With Sixteen Illustrative Drawings by George Cruikshank. London: Printed for Charles Baldwyn, 1824. George Cruikshank's copy, signed "George Cruikshank 1824" at top of title-page. First edition, mixed issue. Octavo (7 7/8 x 4 7/8 inches; 199 x 123 mm.). viii, 253, [1, imprint], [8, advertisements] pp. Fifteen engraved plates and woodcut on title-page "The Pomegranate Seed". Publisher's quarter dark green canvas over red paper boards, spine with original printed paper label (worn), edges uncut. Front joint worn but sound, inner hinges expertly strengthened. With the engraved bookplate of William Hartmann Woodin on front paste-down and ink signature on front free end-paper. An excellent copy chemised in a quarter blue morocco slipcase. A complicated collation. According to Cohn the first issue has a plate to the tale "The Dead Rider" at p. 58, and no woodcut on the title page. Our copy has the second issue title page with the woodcut "The Pomegranate Seed" but it also has the plate "The Dead Rider" facing page 62. According to Cohn the first issue has a misprint at p. 32, line 10, the word "creditor" being used in mistake for "debtor". Our copy has the fist issue "creditor" According to Cohn there are seventeen illustrations including the woodcut on the title-page Our copy has sixteen illustrations including the woodcut on the title-page. Cohn, 444. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03846
USD 1150.00 [Appr.: EURO 971.25 | £UK 890.25 | JP 120240]
Keywords: ROSCOE, Thomas Caricatures Italian Literature

 DARWIN, CHARLES; LIMITED EDITIONS CLUB; KREDEL, FRITZ, ILLUSTRATOR; MONTAGU, ASHLEY (PREFACE), Descent of Man, the
DARWIN, CHARLES; LIMITED EDITIONS CLUB; KREDEL, FRITZ, ILLUSTRATOR; MONTAGU, ASHLEY (PREFACE)
Descent of Man, the
Adelaide, South Australia: Printed for The Limited Editions Club, 1971. Ignorance more frequently begets confidence than does knowledge: it is those who know little, not those who know much, who so positively assert that this or that problem will never be solved by science." DARWIN, Charles. The Descent of Man and Selection in Relation to Sex. With a Preface by Ashley Montagu and Drawings by Fritz Kredel. Adelaide, South Australia: Printed for The Limited Editions Club, 1971. Limited to 1,500 copies signed by Fritz Kredel, this being no. 1201. Large quarto (10 11/16 x 7 7/8 inches; 272 x 201 mm.). 384 pp. Illustrated throughout with numerous black and white drawings, some of which are full-page. Publisher's quarter green Oasis morocco over natural 'wood veneer' paper boards, spine decoratively stamped and lettered in gilt. Minimal fading to spine, still a near fine copy in the publisher's matching slip-case. Charles Robert Darwin, (1809-1882) was an English naturalist and geologist, best known for his contributions to evolutionary theory. He established that all species of life have descended over time from common ancestors, and in a joint publication with Alfred Russel Wallace introduced his scientific theory that this branching pattern of evolution resulted from a process that he called natural selection, in which the struggle for existence has a similar effect to the artificial selection involved in selective breeding. Darwin published his theory of evolution with compelling evidence in his 1859 book On the Origin of Species, overcoming scientific rejection of earlier concepts of transmutation of species. By the 1870s, the scientific community and much of the general public had accepted evolution as a fact. However, many favored competing explanations and it was not until the emergence of the modern evolutionary synthesis from the 1930s to the 1950s that a broad consensus developed in which natural selection was the basic mechanism of evolution. In modified form, Darwin's scientific discovery is the unifying theory of the life sciences, explaining the diversity of life. Darwin has been described as one of the most influential figures in human history. He was honored by burial in Westminster Abbey. The Descent of Man, and Selection in Relation to Sex was first published in 1871. It applies evolutionary theory to human evolution, and details Darwin's theory of sexual selection, a form of biological adaptation distinct from, yet interconnected with, natural selection. The book discusses many related issues, including evolutionary psychology, evolutionary ethics, differences between human races, differences between sexes, the dominant role of women in mate choice, and the relevance of the evolutionary theory to society. Fritz Kredel (1900-1973) was a German, later American artist and graphic designer. In his early years, he studied under Rudolf Koch at Offenbach School of Art and Design, and developed skills in woodcuts. Koch and Kredel collaborated on A Book of Signs (1923) and The Book of Flowers (1930). Following Koch's death in 1934, Kredel moved to Frankfurt, but in 1938 he fled Germany for political reasons with help from Melbert Cary. After emigrating to the United States that year, he taught at Cooper Union in New York and continued to work as an artist. He produced illustrations for over 400 books in German and English and received many awards and honors. Many of his originals are now housed at the Art Library at Yale University. Limited Editions Club Bibliography, 435. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03677
USD 225.00 [Appr.: EURO 190 | £UK 174.25 | JP 23525]
Keywords: LIMITED EDITIONS CLUB KREDEL, Fritz, illustrator MONTAGU, Ashley (preface) Science and Technology Signed Limited Edition

 DETMOLD, EDWARD J., ILLUSTRATOR, Arabian Nights, the
DETMOLD, EDWARD J., ILLUSTRATOR
Arabian Nights, the
London: Hodder and Stoughton, 1924. Edition Deluxe Of Detmold's Rarest Book [DETMOLD, Edward J. illustrator]. The Arabian Nights. Tales from the Thousand and One Nights. Illustrated by E.J. Detmold. London: Hodder and Stoughton, n.d. [1924]. Edition Deluxe, limited to 100 copies only, here bound without the signed limitation leaf. Quarto (11 x 8 1/4 in; 280 x 211 mm). viii, 240 pp. Twelve tipped-in color plates. Publisher's full pictorially gilt vellum. Very light stain on front board, spine gilt a little rubbed, some very light foxing to endpapers but still an excellent copy of Detmold's rarest book. Some deluxe copies were bound, as here, without the signed limitation leaf, the result, apparently, of the publisher printing more than 100 copies and deluxe binding the extra sheets. Detmold illustrated "a number of books of fantasy drawing.. which show a vivid imagination, fine drawing and warm coloring" (Houfe, 115) "The Detmold twins were a unique phenomenon in British art, recognized by their contemporaries as a single creative personality 'divided between two bodies'. Their remarkable etchings and watercolours of plants and animals, minutely detailed in the Japanese manner, are all prized collector's items. Charles Frederick and Edward Barton Detmold were born in Putney, south London, on 21 November 1883. Their middle names were later replaced by 'Maurice' and 'Julius', but the two boys were generally called Maurice and Edward..At the age of 5 the twins developed a dual passion for drawing and observing animals, and made regular sketching expeditions to Regent's Park Zoo and the Natural History Museum in South Kensington, where they drew detailed sketches of shells, crayfish, monkey skulls, and hundreds of other animal subjects. Their first book, Pictures from Birdland, comprising 24 colour plates, was published by J.M. Dent for the Christmas market in 1899. The Detmolds' most celebrated joint achievement, and among the finest book illustrations ever produced, was the set of 16 watercolours depicting scenes from Rudyard Kipling's The Jungle Book. Macmillan first issued these in November 1903..Maurice suddenly committed suicide in April 1908. "Edward was devastated..[but] was determined to carry on with all the various ideas and projects they had originally planned in unison. He joined the ranks of Hodder & Stoughton's immortal band of gift book illustrators..with the superb 1909 edition of Aesop's Fables..For George Allen, Detmold illustrated Lemonnier's Birds and Beasts (1911), and two de luxe volumes by the Nobel prizewinner Maurice Maeterlinck, The Life of the Bee (1911) and Hours of Gladness (1912). He returned to Hodder & Stoughton with another popular animal series for children: The Book of Baby Birds (1912), The Book of Baby Pets (1913), The Book of Baby Dogs (1914), and Our Little Neighbours (1921). His final two opulent gift books for Hodder & Stoughton were Fabre's Book of Insects (1921), with 12 remarkable colour studies of the beautiful and bizarre denizens of the insect world a seen through Detmold's 'microscope' eye; and The Arabian Nights (1924), a very successful change of direction into the realms of exotic fantasy. On the strength of The Arabian Nights, Detmold could have become one of the greatest illustrators of fantasy and fairy stories..During the 1920s Detmold continued to draw, paint, and hold exhibitions of etchings and drypoints, but it was not long before he retired completely from public life..On 1 July 1957 he committed suicide, nearly half a century after the death of his twin brother" (Richard Dalby, The Golden Age of Children's Book Illustration, pp. 96-98). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 02533
USD 1850.00 [Appr.: EURO 1562.25 | £UK 1432.25 | JP 193429]
Keywords: Persian Literature

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