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Cat O' Nine Tails
London: Macmillan, 2006. Signed by Jeffrey Archer ARCHER, Jeffey. SEARLE, Ronald, illustrator. Cat O' Nine Tails. And Other Stories. Drawings by Ronald Searle. London: Macmillan, [2006]. First edition. Signed by Jeffrey Archer in black ink on the title-page. Small quarto (9 5/8 x 7 1/2 inches; 246 x 190 mm.). x, 262 pp. Illustrated throughout in color by Ronald Searle. Publisher's blue paper cloth over boards, spine lettered in silver, color pictorial end-papers. Original color pictorial dust jacket. A fine copy. "Cat O'Nine Tales is the fifth collection of irresistible short stories from the master storyteller. These yarns are ingeniously plotted, with richly drawn characters and deliciously unexpected conclusions, and with the added bonus of illustrations by the internationally acclaimed artist, Ronald Searle. While incarcerated for two years in five different prisons, Jeffrey Archer picked up several ideas for short stories. They range from the tale of The Man Who Robbed His Own Post Office to the story of a company chairman who tried to poison his wife while on a trip to St. Petersburg - both with unexpected consequences. In another, Maestro, an Italian restaurateur ends up in jail, unable to explain to the tax man how he can afford a yacht, a Ferrari and a home in Florence, while only declaring a profit of £100,000 a year.. And then there is Archer's favourite, which he came across after leaving prison. In the eye of the Beholder, in which a handsome premier division footballer falls in love with a twenty-stone woman.. who just happens to be the ninth richest woman in Italy." (Jacket front flap). Ronald William Fordham Searle, CBE, RDI (3 March 1920 - 30 December 2011) was a British artist and satirical cartoonist. He is perhaps best remembered as the creator of St Trinian's School and for his collaboration with Geoffrey Willans on the Molesworth series. After moving to Paris in 1961, he worked more on reportage for Life and Holiday and less on cartoons. He also continued to work in a broad range of media and created books (including his well-known cat books), animated films and sculpture for commemorative medals, both for the French Mint and the British Art Medal Society. Searle did a considerable amount of designing for the cinema, and in 1965, he completed the opening, intermission and closing credits for the comedy film Those Magnificent Men in their Flying Machines as well as the 1969 film Monte Carlo or Bust!. In 1975, the full-length cartoon Dick Deadeye, or Duty Done was released. It is based on the character and songs from H.M.S. Pinafore. .
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Book number: 04672
USD 125.00 [Appr.: EURO 112.75 | £UK 95 | JP¥ 13585]
Keywords: SEARLE, Ronald, illustrator Signed Copies

Milano: Edito da Giovanni de Stefanis, 1965. Candide Illustrated by Fabio Massimo Solari VOLTAIRE [AROUET, Francois-Marie]. SOLARI, Fabio Mssimo, illustrator. Candido. Traduzione di Riccardo Bacchelli. Trenta illustrazione di Fabio Massimo Solari. Milano: Edito da Giovanni de Stefanis / Arnoldo Mondadori, [1965]. Limited to 500 numbered copies of which this is no. 358. Folio (16 7/16 x 11 1/8 inches; 418 x 282 mm.). 213, [1, blank], [1], 3, blank] pp. Included in the pagination are thirty fine full-page engravings by Solari. Publisher's full green morocco, covers decorated in gilt, spine lettered in gilt, all edges uncut. Some very slight rubbing to bottom corner of front board, otherwise a fine copy in the original green card slipcase. Candide, ou l'Optimisme is a French satire first published in 1759 by Voltaire, a philosopher of the Age of Enlightenment. The novella has been widely translated, with English versions titled Candide: or, All for the Best (1759); Candide: or, The Optimist (1762); and Candide: Optimism (1947); and Candido (1965). It begins with a young man, Candide, who is living a sheltered life in an Edenic paradise and being indoctrinated with Leibnizian optimism by his mentor, Professor Pangloss. The work describes the abrupt cessation of this lifestyle, followed by Candide's slow and painful disillusionment as he witnesses and experiences great hardships in the world. Voltaire concludes with Candide, if not rejecting Leibnizian optimism outright, advocating a deeply practical precept, "we must cultivate our garden", in lieu of the Leibnizian mantra of Pangloss, "all is for the best" in the "best of all possible worlds". Fabio Massimo Solari (1920-?) unique style is represented at the Clark Library with is pen and ink drawing entitled "Four Machines.
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Book number: 04655
USD 250.00 [Appr.: EURO 225.25 | £UK 190 | JP¥ 27170]
Keywords: AROUET, Francois-Marie SOLARI, Fabio Mssimo, illustrator BACHELLI, Riccard, translator Books in Italian Limited Editions

 BALZAC, HONORÉ DE; KIEFFER, RENÉ, BINDER, Le Peau de Chagrin. études Sociales
Le Peau de Chagrin. études Sociales
Paris: H. Delloye [&] Victor Lecou, Éditeurs, 1838. An Incredible Early Twentieth Century 'Portrait' Binding by René Kieffer Specially Bound for Gérard de Berny in Memory of his Father Gabriel de Berny First Illustrated Edition with an additional set of Proof Illustrations on 'Large Thick Paper' BALZAC, Honoré de. KIEFFER, René, binder. La Peau de Chagrin. Études Sociales. Paris: H. Delloye [&] Victor Lecou, Éditeurs, 1838. First Illustrated Edition, First Printing of the Vignette Illustrations. Specially bound by René Kieffer for Gérard de Berny in memory of his Parents. 'Thick Paper' copy with an additional 'proof' set of the illustrations. Large octavo (11 1/16 x 7 1/2 inches; 281 x 191 mm.). [iv], 402, [1, Table des Matières], [1, blank]. One hundred and one decorative engraved vignettes in the text by Baron, Janet-Lange, Gavarni, French and Marckl, plus one on the title, engraved on steel by Brunellière, Nargeot, Langlois, etc. Additional engraved portrait on India paper of "Pauline", after Janet-Lange, engraved by Félicie Fournier, née Monsaldy (as appearing on pp. 149). Some foxing throughout, mainly marginal, otherwise fine. An incredible early twentieth-century 'Portrait' binding by René Kieffer, stamp-signed in gilt on front turn-in and with his printed label on verso of front endpaper. Full brown morocco, covers triple-bordered in gilt enclosing a highly elaborate symmetrical gilt diamond design with gilt stars. The front cover inlaid with a large oval nineteenth century 'medallion' portrait in oil of Honoré de Balzac and four smaller circular nineteenth century 'medallion' oil paintings titled "Enfance" (childhood), "Etude" (study), "Amour" (love), and "Plaisir" (pleasure). The rear cover similarly inlaid with a large oval nineteenth century 'medallion' portrait in oil of Madame Louise Antoinette Laure de Berny (Balzac's first love "La Dilecta") and four smaller circular nineteenth century 'medallion' oil paintings titled "Ambition", Misère (misery), "Desespoir" (despair), and "Suicide". Spine with five raised bands, similarly decorated and lettered in gilt in compartments. Double-ruled gilt board-edges and multi-gilt ruled turn-ins surrounding an orange morocco liner, elaborately decorated in gilt in a symmetrical design, olive green watered silk endleaves, blue-gray marbled endpapers, all edges gilt. Original brown morocco over blue marbled boards chemise, housed in the original brown morocco edged blue marbled boards slipcase. Spine of chemise sunned, slipcase a little worn at extremities. The binding itself is near fine with just a few fragments missing from the edges of the 'medallions'. Original printed tan wrappers and spine bound in. Small square engraved bookplate of renowned collector, Gérard de Berny on front endpaper. A stunning example reflecting the love affair between Honoré de Balzac and Gérard de Berny's mother, Laure de Berny. The nineteenth century 'Medallion' oil paintings are most certainly from the collection of Gabriel de Berny. Roger Louis Gérard de Berny (1880-1957) was a French politician of the French Third Republic. He was born in Amiens, France. He was elected senator for the Somme in January 1936 and was one of those who voted to give full power to Marshal Pétain on 10 July 1940. de Berny did not return to government after the Second World War. He died in his Hôtel on Rue Victor Hugo in Amiens, now the Hôtel de Berny Museum. The Musée d'art local et d'histoire régionale or Musée de l'Hôtel de Berny is a local history museum for the region of Picardy. The Hôtel de Berny Museum includes 18th century tapestries and wood carvings, such as those from the La Fayette salon in the château de La Grange-Bléneau and those by the Huet brothers (Nicolas, François and Jean-Baptiste the Younger, the three sons of Jean-Baptiste Huet) and Adrien Choquet (a painter from Abbeville) from the Salon du Zodiaque in the Long château, as well as Art nouveau and Art déco ceramics by Montières, French Revolution-era faïence, paintings by Louis Jean François Lagrenée and Isabey, a 1612 harpsichord, pastels by Choderlos de Laclos and 16th-20th century ironwork and clocks. It also contains objects relating to figures from local and national history such as Gresset, Choderlos de Laclos, Jules Verne, Édouard Branly and Maréchal Leclerc. Gérard de Berny's father, Charles Philippe Gabriel de Berny (1825-1884) was married to Laure de Berny, née Louise Antoinette Laure Hinner (1777-1836). "In 1793, aged only fifteen, Laure married Gabriel de Berny, but their union was unhappy. He was 20 years old, quite reserved and cold, whereas his young wife was very sensitive, warm-hearted and caring. Despite their differences, they still managed to have nine children, although five died in infancy and only two survived their mother. In 1815, the family bought a house in Villeparisis, in northern France, where they spent the summers. It was here that Laure first met Honore De Balzac. Laure was 42 at the time and already a grandmother, but this didn't stop the young Balzac (he was only 22) from falling in love with her. At first she resisted him, but Balzac wouldn't give up. He courted her for months and in the end, she gave in. The two become lovers. Of course nothing could remain secret for long in a small town. When Balzac's parents learned of it they tried to break off their scandalous relationship, but to no avail. Laure wasn't just Balzac's lover. She was his confidante, his muse and his benefactress. She gave him the love, security and confidence he hadn't received from his parents as a child, she supported his literary career (she inspired the characters of Madame de Mortsauf in The Lily In The Valley, and Pauline in Louis Lambert) and helped him out financially when he needed it. She assisted him in his business ventures, which always failed, and helped him pay his debts. "La Dilecta", as Balzac called her, also told him many stories about the ancient regime and of how some of her aristocratic friends and acquaintances managed to escape death during the Revolution, while others weren't so lucky. His royalist principles would be strongly confirmed by Laure's influence and it's from her he also acquired his aristocratic longings. Thanks to her help, he also managed to meet several influential people and would sometimes make an appearance in high society. Balzac would also talk to her about his relationship with other women, such as Madame de Hanska, who he would end up marrying a few months before his death. Laure De Berny died on 27th July 1836 at La Bouleaunière, her country house at Grez-sur-Loing. Balzac was in Italy at the time, but when he returned, he visited her grave." (historyandotherthoughts.blogspot.com). René Kieffer (1875-1964) worked for ten years at the famed Chambolle-Duru bindery in Paris, specializing in gilding, before establishing his own workshop in 1903. He debuted at the 1903 Salon des Artistes Françcais, and, evolving toward to more modern approach, became a disciple of the great Marius-Michel. At the time of this binding's creation he had begun to incorporate a transitional mix of flowers, vines, and colorful onlays in rather formal compositions, their Art Nouveau motifs retained within symmetrical borders that revealed his classical roots. By the end of World War I he had emerged as one of Paris's leading binders, his work sought after by collectors, his fine workmanship matched by a wide range of progressive designs. Before La Peau de Chagrin (first published in 1831) was completed, Balzac created excitement about it by publishing a series of articles and story fragments in several Parisian journals. Although he was five months late in delivering the manuscript, he succeeded in generating sufficient interest that the novel sold out instantly upon its publication. A second edition, which included a series of twelve other "philosophical tales", was released one month later. Although the novel uses fantastic elements, its main focus is a realistic portrayal of the excesses of nineteenth century Parisian bourgeois materialism. Balzac's renowned attention to detail is used to describe a gambling house, an antique shop, a royal banquet, and other locales. He also includes details from his own life as a struggling writer, placing the main character in a home similar to the one he occupied at the start of his literary career. The central theme of La Peau de Chagrin is the conflict between desire and longevity. The magic skin represents the owner's life-force, which is depleted through every expression of will, especially when it is employed for the acquisition of power. Ignoring a caution from the shopkeeper who offers him the skin, the protagonist greedily surrounds himself with wealth, only to find himself miserable and decrepit at the story's end. La Peau de Chagrin firmly established Balzac as a writer of significance in France. His social circle widened significantly, and he was sought eagerly by publishers for future projects. The book served as the catalyst for a series of letters he exchanged with a Polish baroness named Ewelina Ha ska, who later became his wife. It also inspired Giselher Klebe's opera Die tödlichen Wünsche. Carteret, Volume III, p. 41. .
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Book number: 04605
USD 9500.00 [Appr.: EURO 8556 | £UK 7218.25 | JP¥ 1032463]
Keywords: KIEFFER, René, binder Fine Bindings Books in French French Literature

The 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 KHAYYÁM. The Rubáiyát of Omar Khayyám. 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 585.5 | £UK 494 | JP¥ 70642]
Keywords: OMAR KHAYYAM BATEMAN, J. Yunge, illustrator Fine Bindings Fine Printing Persian Literature Poetry

 [LIMITED EDITIONS CLUB]; HERODOTUS; BAWDEN, EDWARD; CARTER, HARRY, Histories of Herodotus of Halicarnassus, the
Histories of Herodotus of Halicarnassus, the
Haarlem: Joh. Enschede en Zonen, 1958. Herodotus Illustrated by Edward Bawden HERODOTUS. BAWDEN, Edward (Illustrator). The Histories of Herodotus of Halicarnassus. Translated for The Limited Editions Club by Harry Carter. Illustrated and decorated by Edward Bawden. Haarlem: Joh. Enschede en Zonen, 1958. Limited to 1,500 copies signed by Edward Bawden, this being copy no. 1456. Quarto. Full brown buckram with cream labels lettered in gilt. In original wrappers and housed in publisher's cream slipcase with decorated sides. A fine copy. Edward Bawden CBE RA (1903 - 1989) was an English painter, illustrator and graphic artist, known for his prints, book covers, posters, and garden metalwork furniture. In 1919 he attended Cambridge School of Art full-time (1919 to 1921). Here he became interested in calligraphy and in the work of Aubrey Beardsley, Richard Doyle, William Morris and other Victorians. This was followed in 1922 by a scholarship to the Royal College of Art School of Design in London, where he took a diploma in illustration until 1925. Here he met his fellow student and future collaborator, Eric Ravilious; the pair were described by their teacher, Paul Nash, as "an extraordinary outbreak of talent". He was admired by Edward Gorey, David Gentleman and many other graphic artists. .
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Book number: 02455
USD 250.00 [Appr.: EURO 225.25 | £UK 190 | JP¥ 27170]
Keywords: HERODOTUS BAWDEN, Edward CARTER, Harry History Signed Limited Edition Limited Editions

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, al 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 Brontë'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. .
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Book number: 04557
USD 3250.00 [Appr.: EURO 2927.25 | £UK 2469.5 | JP¥ 353211]
Keywords: GOLDSMITH, Oliver POIRSON, Victor-Armand, illustrator Fine Bindings Eighteenth-Century Literature Irish Literature

 BEARDSLEY, AUBREY, ILLUSTRATOR; MALORY, SIR THOMAS; BOYDELL PRESS, THE, The Birth, Life, and Acts of King Arthur, of His Noble Knights of the Round Table
The Birth, Life, and Acts of King Arthur, of His Noble Knights of the Round Table
London: The Boydell Press, 1985. The Boydell Press facsimle of Beardsley's Morte D'Arthur [BEARDSLEY, Aubrey, illustrator]. MALORY, Sir Thomas. The Birth, Life, and Acts of King Arthur, of His Noble Knights of the Round Table, Their Marvellous Enquests and Adventures, the Achieving of the San Greal, and in the End, Le Morte Darthur, with the Dolourous Death and Departing out of This World of Them All. The text as written by Sir Thomas Malory and imprinted by William Caxton at Westminster the Year MCCCCLXXXV and now spelled in modern style. With an introduction by Professor Rhys and embellished with many original designs by Aubrey Beardsley. [London: J.M. Dent & Co. 1893-1894]. London: The Boydell Press, 1985. "Facsimile reprint edition of the small paper issue of the first edition with the addition of a new introduction. This edition is limited to 500 copies" (of which this is no. 254). (limitation page). Two quarto volume (9 3/8 x 7 inches; 239 x 178 mm.). lxiv, 455, [1, blank]; [8], lxv-xc, [457]-990, [1], [1, blank] pp. In addition there is a 24 page introduction by Derek Brewer at the beginning of the first volume. With two facsimile photogravure frontispieces, eighteen facsimile wood-engraved plates (five double-page), numerous text illustrations, and approximately 350 chapter headings, borders, and initials, all after designs by Beardsley. Publisher's tan-colored silk cloth over boards pictorially stamped in gilt on covers and spine in a design by Beardsley. Spine lettered in gilt and blind. A fine copy. In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the twenty-year-old Beardsley to produce this edition of Le Morte D'Arthur. The 351 designs appearing in the first edition required eighteen months for the artist to complete. Beardsley, bored with the project, at last refused to complete Dent's original projection of 500 drawings. Of this, Beardsley's first major work, John Lewis states: "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work..If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (in The Twentieth Century Book, pp. 148-149). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04654
USD 450.00 [Appr.: EURO 405.5 | £UK 342 | JP¥ 48906]
Keywords: MALORY, Sir Thomas BOYDELL PRESS, The Facsimiles

Au Bal Masqué
Paris: Au Bureau du Charivari, Maison Martinet, 1848. Charles-Édourd de Beaumont's Au Bal Masqué - At the Masked Ball BEAUMONT, Charles-Édouard de. Au Bal Masqué. [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-Édouard 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 Masqué, 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 Masqué 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. .
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Book number: 04619
USD 2750.00 [Appr.: EURO 2476.75 | £UK 2089.5 | JP¥ 298871]
Keywords: Books in French Caricatures

London: Adam and Charles Black, 1904. A Pictorial Binding [BINDING]. [BIRDSALL, binders]. JUNGMAN, Nico [&] Beatrix. Holland. London: Adam and Charles Black, 1904. First edition. Octavo (8 13/16 x 6 1/4 inches; 224 x 160 mm.). [ix], [i, blank], 212 pp. Seventy-six color plates, all with printed tissue guards. Some light scattered foxing throughout, otherwise fine. Bound ca. 1904, most probably by Birdsall of Northampton, in three-quarter dark brown morocco over light brown buckram boards ruled in gilt. Spine with two raised bands decoratively paneled in gilt. The largest panel (3 3/4 x 1 1/2 inches) with a little Dutch boy smoking a cigar onlaid in various colored morocco. The image has been inspired by the color frontispiece, "A Boy Smoking, Volendam". Marbled end-papers, top edge gilt. The roots of Birdsall of Northampton "stretch back to the early eighteenth century but it was in 1792 that John Lacy's Northampton bindery was acquired by William Birdsall, continuing in his family until 1961.. In Birdsall's heyday, Gerring (Notes on Bookbinding, 1899) reported a staff of 250 engaged in making ladies handbags, fancy boxes, and stationary; as well as all types of bookbinding. The firm seemed always ready to experiment and careful records and samples were kept by Richard Birdsall, great-great-nephew of the founder, until he died in 1909.. The firm's collection of over 3,000 finishing tools passed to the University of Toronto" (Maggs, Bookbinding in the British Isles II, #262, and #321). "Birdsall's is notable for the high quality of their leathers and finishings, as well as for the inventive style of their 'inlaid pictorial bindings'" (Chevalier Collection, Christie's November 9, 1990). Nicolaas Wilhelm Jungman (1872-1935) was an Anglo-Dutch painter of landscapes and figural subjects, a book-illustrator and decorator. Jungman was born in Amsterdam, where he was apprenticed to a church painter, and studied at the Rijksakademie. He came to London about 1893 on a scholarship and became a naturalized British subject, returning to the Netherlands frequently, to paint in Volendam. In 1900 Jungman married Beatrix Mackay with whom he had three children, Loyd, Zita (1903-2006) and Teresa (nicknamed "Baby") (1907-2010). As a naturalised Briton, he was interned by German forces during the First World War, which led eventually to the break-up of his marriage. Jungmann made several painting excursions to Brittany and Holland with his friend and fellow-painter Charles W. Bartlett. He illustrated topographical books on Holland (1904) and Norway (1905) for which his wife Beatrix wrote the text, as well as one on Normandy (1905) with a text by Geraldine Edith Mitton. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04069
USD 1250.00 [Appr.: EURO 1126 | £UK 950 | JP¥ 135850]
Keywords: JUNGMAN, Nico, artist JUNGMAN, Beatrix Fine Bindings Voyages and Travels Gift Books

New York: The Limited Editions Club, 1984. The Garden of Forking Paths" Jorge Luis Borges Best Known Anthology With Twenty-Two Geometric Illustrations by Sol Lewitt BORGES, Jorge Luis. Ficciones. Silk-Screens by Sol Lewitt. New York: The Limited Editions Club, 1984. Limited to 1,500 copies signed by Sol Lewitt (of which this is no. 1093). Small square quarto (8 x 8 1/8 inches; 203 x 206 mm.). xxxii, 306, [2, blank], [1, limitation], [1, blank] pp. Twenty-two geometric illustrations by Sol Lewitt on thick paper. Bound by A. Horowitz & Sons in full black goatskin, covers paneled in blind, spine lettered in blind, black endpapers. Housed in the original black board slipcase. A very fine copy. The original monthly newsletter laid in. "1500 copies of Ficciones have been printed by The Anthoensen Press. The book was designed by Sol Lewitt and set in Cloister Bold by Mackenzie-Harris Corp. The drawings were silk-screened by Jo Watanabe. The book was bound by A. Horowitz & Sons." Numbered and signed in pencil. (Limitation leaf). Jorge Francisco Isidoro Luis Borges (1899-1986) was an Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish-language literature. His best-known books, Ficciones (Fictions) and El Aleph (The Aleph), published in the 1940s, are compilations of short stories interconnected by common themes, including dreams, labyrinths, libraries, mirrors, fictional writers, philosophy, and religion. Solomon "Sol" LeWitt (1928-2007) was an American artist linked to various movements, including Conceptual art and Minimalism. He came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, and painting. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04293
USD 500.00 [Appr.: EURO 450.5 | £UK 380 | JP¥ 54340]
Keywords: LIMITED EDITIONS CLUB LEWITT, Sol, illustrator Fine Bindings Fine Printing Signed Limited Edition

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. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 02484
USD 200.00 [Appr.: EURO 180.25 | £UK 152 | JP¥ 21736]
Keywords: VIRGIL (Publuis Virgilius Maro) BRAMANTI, Bruno, illustrator Classical Literature Signed Limited Edition

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 180.25 | £UK 152 | JP¥ 21736]
Keywords: BRAMANTI, Bruno, illustrator VIRGIL (Publuis Virgilius Maro) Classical Literature Signed Limited Edition

London: Sampson Low, Marston & Co. Ltd. 1913. Alexander William Kinglakes' Gripping Story Illustrated by Frank Brangwyn One of 100 Copies Signed by the Artist [BRANGWYN, Sir Frank, illustrator]. KINGLAKE, A. W. Eöthen: or traces of travel brought home from the East by A.W. Kinglake. With an introduction by S.L. Bensusan and designs by Frank Brangwyn. London: Sampson Low, Marston & Co. Ltd. 1913. Edition de Luxe. One of 100 numbered copies signed by Brangwyn (of which this is number 88). Large quarto (1 1/4 x 9 inches; 286 x 228 mm.). 305, [1] pp. Twelve mounted color plates, full-page black and white frontispiece, and thirty-one quarter-page black and white chapter headings. Publisher's quarter vellum over green buckram boards, spine lettered in gilt, top edge gilt, others uncut. A near fine copy. Alexander William Kinglake's epic journey through the Ottoman Empire to Cairo, and his residence there as the plague tore through the city was undertaken by him in 1835. His account of the journey, which he entitled Eöthen was first published nine years later in 1844. Someone had once asked Winston Churchill's advice on how to improve his prose style. "Read Kinglake," said Churchill. The word Eöthen, means 'from the east', and the book describes the author's travels in what is now the Middle East. Apparently Churchill was right, in that Eöthen is easy to read and tells a gripping story. The title, as the author points out, is the hardest word in the book. There are 29 chapters, many of them indicating the places he went to, such as Constantinople, Cyprus, Cairo, Damascus, Palestine, The Dead Sea, Jerusalem, Egypt, and Lebanon. Sir Frank William BRANGWYN, R.A. R.W.S. R.B.A. (1867-1956) was an Anglo-Welsh artist, painter, water colorist, virtuoso engraver and illustrator, and progressive designer. Born in Bruges, Belgium where his father moved after winning a competition organized by the Belgian Guild of St. Thomas and St. Luke to design a parish church. In 1874 the family moved back to the United Kingdom. In 1936 Brangwyn presented Bruges with over 400 works, now in the Arents House Museum. In return the King of Belgium made Brangwyn Grand Officer of the Order of Leopold II, and Bruges made him Citoyen d'Honneur de Bruges He was knighted in 1941. Brangwyn died on 11 June 1956 at his home in Sussex. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03559
USD 850.00 [Appr.: EURO 765.75 | £UK 646 | JP¥ 92378]
Keywords: KINGLAKE, Alexander William BENSUSAN, S.L. Signed Limited Edition Voyages and Travels

London: Hutchinson & Co. 1916. With Sixteen Full-Page Color Plates by René Bull [BULL, René, illustrator]. MÉRIMÉE, Prosper. Carmen. Translated by A.E. Johnson. With Pictures by René 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 Mérimée's tale which was the basis for Georges Bizet's opera of the same title. René 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), Rubáiyát of Omar Khayyám (1913), Carmen, by Prosper Mérimée (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 225.25 | £UK 190 | JP¥ 27170]
Keywords: Mérimée, Prosper Johnson, A.E. Signed Limited Edition Illustrated Books French Literature European Literature French Literature Music

Rubaiyat of Omar Khayyam
[London]: Hodder and Stoughton, [1913]. One of the Most Glorious Illustrated Books of the Golden age [BULL, René, illustrator]. [FITZGERALD, Edward, trans.]. Rubaiyat of Omar Khayyam. N.p. [London]: Hodder and Stoughton, n.d. [1913]. First trade edition. Large quarto (10 15/16 x 8 7/16 inches; 277 x 214 mm). Seventy-eight unpaginated leaves. Ten tipped-in color plates on heavy stock within gilt printed frames with captioned tissue guards. Nineteen mounted color plates as headpieces, decorations and line drawings printed in blue. Publisher's elaborately gilt pictorial tan cloth boards with blue borders decorated in gilt, spine decoratively lettered in gilt, top edge stained red. Engraved bookplate on front paste-down, neat, early ink inscription on front free endpaper.Spine very slightly darkened, small black stain on lower cover, minimal rubbing to extremities, otherwise a near fine copy. Among the most glorious of illustrated books produced during the Golden Age of Illustration, complete with all seventy-five quatrains. Illustrator René Bull (1872-1942) was born in Dublin to a French mother and an English father. He went to Paris to study engineering but veered into an artistic career after meeting and taking drawing lessons from the French satirist and political cartoonist Caran d'Ache (Emmanuel Poiré). Bull returned to Ireland to contribute sketches and political cartoons to various publications. Moving to London in 1892, Bull drew for "Illustrated Brits" and created cartoons 'Pick-Me-Up' from 1893. In 1896 Bull joined Black and White illustrated newspaper as a special artist and photographer. In 1898 he covered the Tirah Campaign in India and went on to Sudan for the campaign culminating in the Battle of Omdurman. He settled in England and drew cartoons for such magazines as 'Bystander', 'Chums', 'London Opinion' 'Lika Joko'. In 'The Sketch" Bull created cartoons of humorous inventions, predating those of Heath Robinson. From 1905 he illustrated books, starting with an edition of Fontaine's 'Fables'. Other major titles he illustrated included The Arabian Nights (1912), Rubáiyát of Omar Khayyám (1913), The Russian Ballet (1913), Carmen (1915), Andersen's Fairy Tales. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04357
USD 850.00 [Appr.: EURO 765.75 | £UK 646 | JP¥ 92378]
Keywords: FITZGERALD, Edward Persian Literature Poetry

Scenery of London, the
London: Adam & Charles Black, 1905. A Fine Example of an American Binding Specially Bound by Robert Carrington and Presented to Charles E. Lauriat on his 64th Birthday CARRINGTON, Robert, binder. MARSHALL, Herbert M. The Scenery of London. Painted by Herbert M. Marshall R.W.S. Described by G.E. Mitton. London: Adam & Charles Black, 1905. Bound in 1905 by Robert Carrington. Octavo (8 1/2 x 6 inches; 215 x 152 mm.). xiii, [1, blank], 222, [1], [1, blank] pp. Seventy-five colored plates with descriptive tissue-guards. Specially bound in 1905/1906 by Robert Carrington in full black hard-grain morocco over beveled boards. Covers elaborately decorated with a geometric and floral design, spine with five raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board-edges and wide turn-ins. Red watered silk liners and end-leaves, gold marbled end-papers, all edges gilt. Very slight crack to upper joint - but still quite sound, otherwise near fine. On the front marbled end-paper is a rectangular blue morocco label, decoratively bordered and lettered in gilt "Presented/to/Charles E. Lauriat/on his 64th birthday, January 12, 1906/by/Robert Harrington/(Born Oct. 31, 1841)/as a specimen of his binding/at the age of 64". Robert Carrington ( 1841- ). There is a record of a Robert Carrington, bookbinder in an 1892 publication Public Documents of Massachusetts: Annual Reports of various Public Officers and Institutions for the year 1891 (page 443). Charles E. Lauriat (1842-1920) was a leading bookseller and publisher in Boston. "For 58 years he carried on the culturing and illuminating business of finding and selling the best of the world's literature, and he knew every angle of the trade for which he stood as a mentor and guide. In 1872 Charles Lauriat formed a partnership with Dana Estes, and their establishment was located at 301 Washington Street (except for a short interruption at the time of the Boston fire) until 1906. In 1898 the firm of Estes & Lauriat, which had been pioneers in the field of subscription bookselling as well as general publishing, separated into two corporations. the Dana Estes Co. publishers, and Charles E. Lauriat Co. retailers. Many famous people were frequenters of the store, such as Oliver Wendell Holmes and Justice Holmes, James G. Blaine, Thomas Bailey Aldrich, Phillips Brooks; and innumerable fine libraries in New England and throughout the country owe their beginnings and their development to that store. Very early in the business, the habit of yearly visits to London was started and for nearly fifty years these annual trips were an important phase of the business, and no American buyer was better known to the old book-men of England from whose stocks and auction sales hundreds of cases started for Boston each year. In the development of mail order bookselling, especially in the field of rare books and remainders, Mr. Lauriat was especially successful, and their mailing list of book buyers was one of the most valuable in the country. while hundreds of New England's summer visitors made regular yearly purchases." (The Publishers' Weekly. American Book-Trade Journal. Volume XCVII, January to June, 1920). .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04272
USD 1500.00 [Appr.: EURO 1351 | £UK 1139.75 | JP¥ 163021]
Keywords: MARSHALL, Herbert M. MITTON, G.E. Fine Bindings London

24 Nights
Guildford: Genesis Publications, 1991. Signed by Eric Clapton and the Artist CLAPTON, Eric. BLAKE, Peter. HARRISON, George. TAYLOR, Derek. 24 Nights. The Limited Edition. The Music of Eric Clapton. The Drawings of Peter Blake. Commentary by Derek Taylor. Guildford: Genesis Publications, 1991. Limited to 3500 numbered copies signed by Clapton and Blake of which this is number 1463. Two volumes: Quarto (11 7/8 x 8 3/8 inches; 302 x 213 mm.) in quarter leather over illustrated boards, and octavo (8 1/4 x 5 7/8 inches; 211 x 149 mm.) in illustrated boards. [6], 125, [3]; [4], [2, blank], 58 pp. Lavishly color illustrated throughout. With accompanying two CDs and all called-for ephemera. Housed within publisher's deluxe clamshell box. An immaculate copy, very fine. Housed in the original cardboard shipping carton. A celebration in art and words of the greatest guitarist of our generation on the occasion of the twenty-four concerts at the Royal Albert Hall that climaxed Clapton's 1990-1991 Grand Tour. In scrapbook/collage/multi-media form by Blake, one of the twentieth century's greatest pop artists, and with a separate, appreciative essay by Taylor, one of pop music's most respected journalists, press agent for The Beatles, and close friend to so many of its luminaries. Sir Peter Thomas Blake (b. 1932, is an English pop artist, best known for his album cover design for The Beatles' classic, Sgt. Pepper's Lonely Hearts Club Band. "During the late 1950s, Blake became one of the best known British pop artists. His paintings from this time included imagery from advertisements, music hall entertainment, and wrestlers, often including collaged elements. Blake was included in group exhibitions at the Institute of Contemporary Arts and had his first one person exhibitions in 1960. It was with the 'Young Contemporaries' exhibition of 1961 where he was exhibited alongside David Hockney and R.B. Kitaj that he was first identified with the emerging British Pop Art movement. Blake won the (1961) John Moores junior award for his work Self Portrait with Badges. He first came to wider public attention when, along with Pauline Boty, Derek Boshier and Peter Phillips, he featured in Ken Russell's film on pop art, Pop Goes the Easel, which was broadcast on BBC television in 1962. From 1963 Blake was represented by Robert Fraser which placed him at the centre of swinging London and brought him into contact with leading figures of popular culture" (Wikipedia). British journalist Derek Taylor (1932-1997) was the first to give The Beatles a rave review in a mainstream newspaper. Becoming close with the group and its manager, Brian Epstein, he soon took charge of all Beatles' press relations. George Harrison's song Blue Jay Way was written during his 1967 visit to California, on a foggy night waiting for buddy Derek Taylor and his wife to come visit ("There's a fog upon L.A. / And my friends have lost their way"). He handled press for The Beach Boys, The Byrds, and many others, including Harry Nilsson. In 1967, he co-conceived and co-produced the Monterey Pop Festival. Ephemera: Backstage Pass; "Badge" badge; Four (4) E.C. guitar picks: tortoise, red, turquoise, and black; One (1) Ernie Ball custom gauge guitar string in original packaging. All within the Blake-illustrated envelope as issued. With facsimile inscriptions from Clapton to Blake on the title page and from George Harrison (with flower drawing) to Blake on the copyright page. CDs: Eighteen (18) live recordings from the Royal Albert Hall, London 1990-1991, with guests Buddy Guy, Robert Cray, Phil Collins, and the National Philharmonic Orchestra. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04326
USD 1750.00 [Appr.: EURO 1576.25 | £UK 1329.75 | JP¥ 190191]
Keywords: BLAKE, Peter HARRISON, George TAYLOR, Derek Modern Firsts Fine Bindings Fine Printing Music

 COOK, CAPTAIN JAMES; HAWKESWORTH, JOHN, [Three Voyages of Captain Cook]
[Three Voyages of Captain Cook]
London: Printed for W. Strahan; and T. Cadell, 1773-84. The Three Voyages of Captain Cook, with the Atlas [COOK, Captain James]. HAWKESWORTH, John. An Account of the Voyages Undertaken by the Order of His Present Majesty for Making Discoveries in the Southern Hemisphere, And successively performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook, in the Dolphin, the Swallow, and the Endeavour: drawn up from the journals which were kept by the several commanders, And from the Papers of Joseph Banks, Esq; by John Hawkesworth, LL.D..London: Printed for W. Strahan; and T. Cadell, 1773. Second and best edition. Three quarto volumes (11 5/16 x 8 7/8 inches; 288 x 226 mm.). [20], xxxvi, [4], 456; xiv, 410; 395, [1, blank] pp. Fifty-two engraved plates and charts (some folding). Small lower-margin worm track in volume II affecting Gg1-Ii4 (pp. 227-249). Small lower-margin tears on plate 19 in volume III (between pp. 152/153). Title-page of volume I with early ink inscription (very feint) on top margin, title-page of volume II with early ink inscription, [Together with:] COOK, Captain James. A Voyage towards the South Pole, and Round the World. Performed in His Majesty's Ships the Resolution and Adventure, in the Years 1772, 1773, 1774, and 1775.. In which is included Captain Furneaux's Narrative of his Proceedings in the Adventure during the Separation of the Ships..The fourth edition. London: Printed for W. Strahan; and T. Cadell, 1784. Fourth edition. Two quarto volumes (11 5/8 x 9 5/16 inches; 295 x 236 mm.). xl, 378; [8], 396 pp. Engraved frontispiece portrait of Captain James Cook by J. Basire after Wm. Hodges in Volume I, and sixty-three engraved plates and charts (some folding). Folding table facing p. [364] in Volume II. Small worm-track on lower margin of folding plate between pages 8 and 9. Clean lower inner-margin tear on leaf O3 (pp. 101/102). [And:] COOK, Captain James, and Captain James King. A Voyage to the Pacific Ocean. Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere. To determine The Position and Extent of the West Side of North America; its Distance from Asia; and the Practicability of a Northern Passage to Europe. Performed under the Direction of Captains Cook, Clerke, and Gore, in his Majesty's Ships the Resolution and Discovery; In the Years 1776, 1777, 1778, 1779, and 1780.. London: Printed by W. and A. Strahan: for G. Nicol, 1784. First edition. Three quarto volumes (11 3/8 x 9 1/16 inches; 289 x 230 mm.), plus folio atlas volume (21 3/8 x 15 3/4 inches; 543 x 400 mm.). [viii], xcvi, 421, [1, blank]; [xii], 549, [1, blank]; [xii], 558 pp. Twenty-three engraved plates and charts (some folding) in the text volumes and two large folding charts and sixty-two plates in the atlas volume (eighty-seven total). Engraved medallion portraits facing title-pages of volumes I and III. Folding table facing p. 530 in Volume III. Small marginal tears (paper-flaws?) on text leaf Tt3 (pp. 325/326) and folding plate 84, facing page 471 in volume II. Twenty-three of the engraved plates in the atlas have been professionally cut and mounted on thick paper to size. A complete set of the three voyages of Captain Cook. Together eight text volumes and the folio atlas volume. Uniformly bound in mid-twentieth century half speckled calf over marbled boards, ruled in blind. Spines with five raised bands (atlas with six raised bands) decoratively tooled in gilt, with red and green morocco labels, top edge gilt (third voyage all edges gilt). Some light spotting and offsetting but generally a very clean set. "On his first voyage, 25 August 1768 to 12 July 1771, Cook circumnavigated New Zealand and for the first time explored the east coast of Australia.. of which he took possession for Great Britain; he also sailed through the straits separating New Guinea and Australia. On the second, and historically most important, voyage (13 July 1772 to 30 July 1775) he began by cruising as far south as possible around the edge of the Antarctic ice. He again visited New Zealand and, cruising through the Pacific, discovered, or explored again, many of the islands, in particular New Caledonia, Palmerston and Norfolk Islands, Easter Island, the Marquesas, New Hebrides, Tonga, the South Sandwich Islands and South Georgia. "The third voyage (11 July 1776 to 4 October 1780) was undertaken to find the North-West Passage from Europe to the East. After again visiting Tasmania, New Zealand and many Pacific Islands, Cook sailed on to North America, discovering on the way the Cook Islands and the Hawaiian group. He charted the North American coast from Oregon as far north as the Bering Strait, where ice turned him back. On the way back the great explorer was killed [in 1779] in a fight with natives in Hawaii. "Cook earned his place in history by opening up the Pacific to western civilization and by the foundation of British Australia. The world was given for the first time an essentially complete knowledge of the Pacific Ocean and Australia, and Cook proved once and for all that there was no great southern continent, as had always been believed. He also suggested the existence of Antarctic land in the southern ice ring, a fact which was not proved until the explorations of the nineteenth century. "Cook was a brilliant navigator and hydrographer, and excellent administrator and planner, and probably the first sea captain to realize the importance of preserving the health and well-being of his crew" (Printing and the Mind of Man). These voyages of discovery were also the first to carry professional artists (notably Parkinson, Hodges, and Webber). The volumes are justly famous for their splendid plates, many of which were engraved by Bartolozzi. The second edition of the first voyage differs from the first in that it contains a preface, in which Hawkesworth replies to the charges made against him by Alexander Dalrymple in a pamphlet published after the appearance of the first edition, and in that each volume is separately paginated. Hill I, pp. 139-140 and 61-62. Holmes 5, 24, 47, and 69. Mitchell Library 650, 1217, 1552, and 32. Printing and the Mind of Man 233. Sabin 30934, 16245, 16250, and 37954. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03475
USD 25000.00 [Appr.: EURO 22515.75 | £UK 18995.5 | JP¥ 2717009]
Keywords: HAWKESWORTH, John Americana Antarctica Sets (Bound) Voyages and Travels

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 1126 | £UK 950 | JP¥ 135850]
Keywords: BLANCHARD, Laman BIRDSALL, binder Fine Bindings Caricatures

 CRUIKSHANK, GEORGE; JERROLD, BLANCHARD, Life of George Cruikshank in Two Epochs, the
Life of George Cruikshank in Two Epochs, the
London: Chatto and Windus, 1882. The Standard Authority For Over A Century Handsomely Bound by Rivière 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 Rivière 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 1126 | £UK 950 | JP¥ 135850]
Keywords: JERROLD, Blanchard Fine Bindings Biography Caricatures

 CRUIKSHANK, GEORGE, ILLUSTRATOR; ROSCOE, THOMAS, Tales of Humour, Gallantry, & Romance
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 1035.75 | £UK 874 | JP¥ 124982]
Keywords: ROSCOE, Thomas Caricatures Italian Literature

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 202.75 | £UK 171 | JP¥ 24453]
Keywords: LIMITED EDITIONS CLUB KREDEL, Fritz, illustrator MONTAGU, Ashley (preface) Science and Technology Signed Limited Edition

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). .
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Book number: 02533
USD 1850.00 [Appr.: EURO 1666.25 | £UK 1405.75 | JP¥ 201059]
Keywords: Persian Literature

The Fables of ÆSop
London: Hodder & Stoughton, 1909. One of 750 Copies Signed by the Artist Aesop's Fables Illustrated by Edward J. Detmold with Twenty-Five Magnificent Color Plates [DETMOLD, Edward J. illustrator]. AESOP. The Fables of Æsop. Illustrated with 25 Drawings in Color by Edward J. Detmold. London: Hodder & Stoughton, 1909. One of 750 copies signed by Edward J. Detmold, of which this is no. 467. Large quarto (12 1/8 x 9 7/8 inches; 308 x 250 mm.). 80 Un-numbered leaves. Twenty-five magnificent mounted color plates, some with slightly irregular shapes. Publisher's white buckram, front cover pictorially stamped in gilt, spine lettered in gilt, publishers gilt emblem on back cover, top edge gilt, others uncut, plain end-papers except for small publishers' emblem printed in gray. Neat ink name on front free end-paper, spine slightly darkened and 'mottled' otherwise a very fine copy. Housed in the publishers white cardboard slip-case (repaired). An interesting feature of this book is the sometime slightly irregular shapes of the mounted color plates. "Except where separately acknowledged the fables in this volume are printed from the third edition of Sir Roger L'Estrange's translation (1699)." (Publishers' note). After the tragic death of his twin brother and collaborator, Edward Detmold concentrated his talents on books, primarily of flowers and animals: "Detmold's finest plates are those produced for The Fables of Aesop (1909), The Life of the Bee (1911), and Hours of Gladness (1912), the latter with texts after Maurice Maeterlinck, the Belgian poet, naturalist, and mystic..A painting of chrysanthemums, contained in Hours of Gladness, is a glorious acknowledgement of the artist's debt to William Morris and Burne-Jones" (David Larkin, The Fantastic Creatures of Edward Julius Detmold). .
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Book number: 03586
USD 2850.00 [Appr.: EURO 2567 | £UK 2165.5 | JP¥ 309739]
Keywords: Signed Limited Edition

Hours of Gladness
London: George Allen & Co. 1912. First Trade Edition With Twenty Color Plates by Detmold [DETMOLD, Edward J. illustrator]. MAETERLINCK, Maurice. Hours of Gladness. Translated by A. Teixeira de Mattos. Illustrated by E.J. Detmold. London: George Allen & Co. [1912]. First trade edition. Quarto (11 x 8 1/2 inches; 278 x 220 mm.). x, 181, [1, printer's imprint], [1, publisher's device], [1, blank] pp. Twenty mounted color plates (including frontispiece). Title-page decorated in black and white designed (and signed by) Detmold. Original cream-colored cloth. Front cover lettered in gilt with floral decorations in yellow, brown, and gray after a design by Detmold (signed E.J.D. at lower right), back cover with a similar floral decorations in yellow, brown, and gray, spine stamped and lettered in gilt. White endpapers with small black floral vignette, all edges uncut. Mild soiling to cloth, spine very slightly darkened, small stain at upper edge of rear cover. Otherwise a very good copy, internally crisp and clean. Partially unopened. Belgian poetic dramatist and essayist Maurice Maeterlinck (1862-1949) "wrote in French, establishing himself as one of the leading figures in the symbolist movement with his play La Princesse Maleine (1889; English trans. 1892). In 1892 Pelléas et Mélisande appeared (trans. 1894), the work for which he is now chiefly remembered and the source of Debussy's opera of the same name (1902). He also achieved great contemporary popularity with L'Oiseau bleu (1908; The Blue Bird, 1909) and was awarded the Nobel Prize in 1911. He drew heavily on traditions of romance and fairy tale, and the characteristic tone of much of his drama is one of doom-laden mystery and timeless melancholy. He also produced a number of essays of a philosophical nature, including La Vie des abeilles (1901; The Life of the Bee, 1901) and L'Intelligence des fleurs (1907; The Intelligence of Flowers, 1907)" (The Oxford Companion to English Literature). After the tragic death of his twin brother and collaborator, Edward Detmold concentrated his talents on books, primarily of flowers and animals: "Detmold's finest plates are those produced for The Fables of Aesop (1909), The Life of the Bee (1911), and Hours of Gladness (1912), the latter with texts after Maurice Maeterlinck, the Belgian poet, naturalist, and mystic..A painting of chrysanthemums, contained in Hours of Gladness, is a glorious acknowledgement of the artist's debt to William Morris and Burne-Jones" (David Larkin, The Fantastic Creatures of Edward Julius Detmold). Houfe, p. 283. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 00703
USD 550.00 [Appr.: EURO 495.5 | £UK 418 | JP¥ 59774]
Keywords: Maeterlinck, Maurice Teixeira de Mattos, A. Illustrated Books European Literature Color Printing French Literature Literature

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