OSTERMANN, Franz, binder; OSTERMANN, Franz, binder; PRÉVOST, L'Abbé; LELOIR, Maurice, illustrator

Histoire de Manon Lescaut

Paris: Librairie Charles Tallandier, 1898. A Fine Pictorial Inlaid Binding by Franz Ostermann Specially Bound for Sir Henry Harben [BINDING]. OSTERMANN, Franz, binder, aka FRANZ. PRÉVOST, L'Abbé. LELOIR, Maurice, illustrator. Histoire de Manon Lescaut et du Chevalier des Grieux. Préface de Guy de Maupassant. Illustrations de Maurice Leloir. Paris: Librairie Charles Tallandier, [1898]. Large octavo (9 13/16 x 6 3/8 inches; 250 x 162 mm.). xxiv, 203, [1, blank], [2, list of illustrations & contents], [1, printer's statement], [1, printer's emblem] pp. Twelve color plates, two black & white plates, each leaf of text with a black & white vignette. Bound ca. 1905 by Franz Ostermann (stamp signed in gilt "Franz" on front turn-in). Full green crushed levant morocco. Front cover with an elaborate inlaid design (taken from the second chapter heading vignette on p. 113) in multi-colored morocco's depicting Manon and Des Grieux.. "Folding her in my arms, I rained a hundred fond kisses on her lips, and besought her to forgive my angry words, confessing that I was a brutal wretch and utterly unworthy of the happiness of being loved by such an adorable woman as herself". Also with the gilt arms and Latin motto "Summis Viribus" (Greatest Strength) of Sir Henry Harben. Rear cover with a smaller but equally elaborate inlaid design in multi colored morocco's (taken from the vignette on p. 85) depicting Des Grieux and and his his loyal friend Tiberge "I thanked M. de Tiberge for rendering me so important a service; and, returning his confidence unreservedly..". Spine with four raised bands, with in the center an inlaid design of Des Grieux surrounded by an anchor and a fine gilt design, lettered in gilt in compartments. Double gilt-ruled board edges, elaborate gilt floral turn-ins, colored silk liners with gold thread floral design, front and rear free endpapers also in colored silk with gold thread floral design, additional green marbled endpapers, all edges gilt. With the original pictorial printed front wrapper and plain rear wrapper bound in. Absolutely fine. Housed in the original quarter green morocco over green marbled boards (same as endpapers), felt-lined chemise, spine with four raised bands lettered in gilt in compartments (slightly faded), in turn housed in the original matching green morocco edged, green marbled board slipcase. Franz Ostermann (184? - 1938). Bookbinder of Alsatian origin, who always signed his bindings with his first name. He trained in Strasbourg before moving to Paris and opening his workshop in 1872 at 80 boulevard Malesherbes. He moved his workshop to 28 rue Ampère in 1902. Thirty-one of his bindings were sold at auction at Drouot Richelieu in Paris in 2008 (Piasa Livres Anciens et Modernes December 2nd, 2008).   Antoine François Prévost d'Exiles (1697-1763), usually known simply as the Abbé Prévost, was a French author and novelist. The Story of the Chevalier des Grieux and Manon Lescaut Histoire du Chevalier des Grieux, et de Manon Lescaut is a novel by Antoine François Prévost. Published in 1731, it is the seventh and final volume of Mémoires et aventures d'un homme de qualité (Memoirs and Adventures of a Man of Quality). The story, set in France and Louisiana in the early eighteenth century, follows the hero, the Chevalier des Grieux, and his lover, Manon Lescaut. Controversial in its time, the work was banned in France upon publication. Despite this, it became very popular and pirated editions were widely distributed. In a subsequent 1753 edition, the Abbé Prévost toned down some scandalous details and injected more moralizing disclaimers. Seventeen-year-old Des Grieux, studying philosophy at Amiens, comes from a noble and landed family, but forfeits his hereditary wealth and incurs the disappointment of his father by running away with Manon on her way to a convent. In Paris, the young lovers enjoy a blissful cohabitation, while Des Grieux struggles to satisfy Manon's taste for luxury. He acquires money by borrowing from his unwaveringly loyal friend Tiberge and by cheating gamblers. On several occasions, Des Grieux's wealth evaporates (by theft, in a house fire, etc.), prompting Manon to leave him for a richer man because she cannot stand the thought of living in penury. The two lovers finally end up in New Orleans, to which Manon has been deported as a prostitute, where they pretend to be married and live in idyllic peace for a while. But when Des Grieux reveals their unmarried state to the Governor and asks to be wed with Manon, the Governor's nephew sets his sights on winning Manon's hand. In despair, Des Grieux challenges the Governor's nephew to a duel and knocks him unconscious. Thinking he had killed the man and fearing retribution, the couple flee New Orleans and venture into the wilderness of Louisiana, hoping to reach an English settlement. Manon dies of exposure and exhaustion the following morning and, after burying his beloved, Des Grieux is eventually taken back to France by Tiberge. Maurice Leloir (1853-1940) was a French illustrator, watercolourist, draftsman, printmaker, writer and collector. Leloir was the son, and pupil, of painter Auguste Leloir  and watercolorist Héloïse Suzanne Colin, daughter of painter Alexandre-Marie Colin. His brother, Alexandre-Louis Leloir was also a well known painter and illustrator. Leloir married Céline Bourdier, with whom he had a daughter, Suzanne Leloir, who married Philippe, the son of Pauline Savari in 1912. Leloir first exhibited his work at the Salon des Artistes Français, of which he became the secretary. With many other painters, he was a member of the Crozant School in the valleys of Creuse. In 1907, he was the founding president of the Société de l'histoire du costume, and he donated the family's collection of fashion prints to the society. Around the 1890s, Leloir and his students flooded the picture book market, inspired by photographs representing accurately costumes and attitudes of the past, much appreciated by bibliophiles. He was a prolific illustrator of books, especially for children, such as the Richelieu by Théodore Cahu, of magazines and fans. In 1929, Leloir traveled to Hollywood at the urging of Douglas Fairbanks to work on his last silent film, The Iron Mask. He chronicled his experiences in his memoir Five Months in Hollywood with Douglas Fairbanks. Harben, Henry, Sir (1823 -1911). The pioneer of industrial life assurance, Henry Harben rose to become President of the Prudential Assurance Company. He was knighted in 1897. He married Ann Such in 1846, with whom he had one son. In 1900 Sir Henry was elected the first mayor of the newly created Metropolitan Borough of Hampstead. In 1877 arms were granted to Henry Harben of Seaford Lodge, Hampstead, London. References: Fléty, Julien. Dictionnaire des relieurs français ayant exercé de 1800 à nos jours. Paris, 1988. Suares, Alain. Le livre de l'émeraude. Paris 1927. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05039

Catalogue: Illustrated Books

Keywords: OSTERMANN, Franz, binder PRÉVOST, L'Abbé LELOIR, Maurice, illustrator Fine Bindings Books in French French Literature

BAYNTUN OF BATH; 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 Pogány) (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 Pogány'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. Pogány 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 Rubáiyat of Omar Khayyám, The Rime of the Ancient Mariner, Tannhäuser 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 Pogány with an outstanding use of iconography, form and color.'. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04916

Catalogue: Illustrated Books

Keywords: POGANY, Willy WAGNER, Richard ROLLESTON, T.W. Fine Bindings German Literature Poetry

POGANY, Willy, illustrator; WAGNER, Richard

Tannhäuser Calendar for 1914

London & Paris: Liberty & Co. [1913]. An Original Willy Pogany Tannhäuser Calendar for 1914 POGANY, Willy, illustrator. Tannhäuser Calendar for 1914. London & Paris: Liberty & Co. [1913]. Octavo ( 8 5/8 x 6 1/16 inches; 219 x 154 mm.). 24 pages (including wrappers) printed on heavy gray stock. Eight mounted color plates. The second color plate with two creases at lower left corner. Printed in colors on gray paper stock, sewn as issued. Front wrapper with neat early ink inscription on top margin. Remnant of silk ties, otherwise a near fine copy of this scarce piece of Willy Pogany ephemera. Willy Pogány, born in Szeged, Hungary, in 1882, studied at Budapest Technical University and in Munich and Paris. His reputation as a muralist, painter and illustrator was well established in Paris, London and Munich before arriving in the United States in 1915, at the age of thirty-three. Skilled in an unusually wide range of media, he had won gold medals at exhibitions in Budapest, Leipzig, and at the Panama Pacific International Exhibition. "Among Pogány's many murals are those for the Heckscher Children's Theatre in New York City and the Niagara Falls Power Station. As a painter he did portraits of famous people in all walks of life. An expert on scenery design and lighting effects, Pogány also designed sets for ballets and operas, including "Le Coq d'Or," and for many films, such as Modern Times for Charlie Chaplin as well as animated cartoons based on his children's books. "Among his other artistic endeavors Pogány was an accomplished book illustrator. It was this phase of his career, especially as an illustrator of children's books, which gives this collection special relevance for Special Collections & University Archives at the University of Oregon Libraries. Pogány designed and illustrated more than 150 books. His illustrations include those for the Rubaiyat and the Sonnets from the Portuguese, The Song Celestial, The Adventures of Odysseus, Gulliver's Travels, and many others, both classic and original. "Working tirelessly right up until the end, Willy Pogány died in 1955" (University of Oregon, Guide to the Willy A. Pogány Papers 1910-1967). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04400

Catalogue: Illustrated Books

Keywords: WAGNER, Richard German Literature Music

QUILLENBOIS, pseudonym of Charles Marie de Sarcus

Plaisirs Et Occupations de la Vie de Chateau

Paris: Chez Aubert & Comp.ie, 1850. The French Bourgeoisie as Depicted by Quillenbois QUILLENBOIS, pseudonym of Charles Marie de Sarcus. Plaisirs et Occupations de la vie de Chateau par Karl (Quillambois.). Paris: Chez Aubert & Comp.ie, [1850]. Folio (12 3/4 x 9 1/2 inches; 323 x 242 mm.). Pictorial lithograph title-page (with three images) and twelve fine lithograph plates with sixty-nine images, all mounted on stubs. Late nineteenth century three-quarter olive green morocco over blue marbled boards, ruled in gilt. Smooth spine paneled and lettered in gilt, matching blue marbled endpapers. Expert repairs to top and bottom of spine. Publisher's pictorial lithographed front wrapper (same image as title-page) bound in at front. Some minor marginal foxing, otherwise a near fine copy. OCLC locates just two copies in libraries and institutions worldwide: Bibliotheque de l'Institute de France; National Library of Israel. Charles-Marie de Sarcus, a.k.a. Quillenbois, (1821-1867) was born in Dijon and died in Paris. He was a French painter and caricaturist during the middle of the nineteenth century, best known for his cartoons, which were published in many newspapers and albums between 1845 and 1853, and signed Quillenbois. He was a friend of Cham, a.k.a. Charles Amédée de Noé (1818-1879) and he contributed to the satirical newspaper La Revue Comique (1848-1849), providing drawings to Fashion, L Éclair as well as L'Illustration, and was the official draftsman of the Caricaturist (1849-1851). Cats, cows, dogs, pigs & turkeys also have their place in this gallery of funny portraits and situations. Each of the plates mischievously tells an anecdote in lithographed images in the style of a comic strip. "Cham's Histoire de Mr. de Vertpré et de sa Ménagerie Aussi may have inspired Plaisirs et Occupations de la vie de Chateau credited to Karl (or Karle), actually by Quillenbois, the usual pseudonym of Compte Charles-Maries de Sarcus, twelve plates with typical discomforts in about seventy-two scenes." (David Kunzle. Cham: The Best Comic Strips and Graphic Novelettes, 1839-1862, p. 560). The Plates: 1. Par les anciens chemins. Et par les nouveaux. Un jeune homme qui n'a pas encore vu Paris. Un officier en retraite. Mr. le notaire et son fils èlève des collèges de Paris. Savant, historiographe de la Sous-Préfecture. Gros bourgeois de la ville prochaine. 2. Oh! c'Parisien déguisé en paillasse! Prodiges de chaleur; récolte de pommes cuites. Repas en famille. Le pain de ménage proceed pour en obtenir un morceau. Manière de boire le vin du cru. 3. Visite à la forêt d'arbres verts. Promenade dans la prairie. Danger de cueillir des fleurs. Un exercice vraiment champêtre. Paysan en grande tenue de ville. Sommeil sur la fougère. 4. Le visiteur de Paris - Le gentilhomme campagnard. Gare le tête à tète!.. Rencontre d'une jeune bergère. Réponse de la même au même. Rosières en activité de service. Rosiere en retraite. 5. Mr. le baron et ses èlèves. Mme. La baronne et ses adorateurs. Diner sur l'herbe: un hors d'oeuvre. Ces messieurs au Whist. (Plaisirs Champêtres) Ces dames pendant le Whist. (Plaisirs Champêtres) 6. Je désirais voir le chemin de fer traverser mes propriétés - Vous devez être très satisfait de ce trace?.. Utilité des grands journaux, dans les grandes chaleurs. Il n'y a rien de si beau, mossieu, à dix lieues à la ronde. Monsieur le percepteur et madame la perceptrice. Le fils du percepteur, dans ses habits des dimanches. 7. Magnifique journée, monsieur! - Triste temps, monsieur, il nous faudrait de l'eau.. Electeurs extra - muros. Gueux de raisins. L'aurore aux doigts de roses. Avant les vacances. (Effets de la Campagne) Après les vacances. (Effets de la Campagne) 8. Pour avoir marché dans le trefle à Nicolas. Le chien est l'ami de l'homme. Premier coup de fusil..rien ne tombe, si ce n'est le chasseur. Sapristi!..ce sont mes pigeons que vous appelez vos perdrix. Les pieds de Mr. le Maire. Le nez de Mr. le Curé. 9. On a souvent besoin de plus petit que soi. Désagrément. Journée de pluie. Le jardin, après l'orage. Premier prix à l'école Communale. Petits bourgeois - costumes de septembre. 10. Ma cascade. Ceci est mon cours d'eau!.. Soirée littèraire - Lecture du 15ème. Chapiter du 6ème. volume de la bibliothèque choisie du Constitutionnel. Les joujoux de Madame. Effets de l'air pur des champs. 11. Madame, voilà la famille des Chipotard.. Sapristi! Mes confitures vont tourner..dites que je suis à ma toilette.. Horticulteur visitant ses belles de nuit. Si mesa mis du Jockey-Club me voyaient!.. Le pied de Madame à Paris. Le même à la campagne. 12. Garde champêtre tu honoreras et les gendarmes mêmement. Ghasse à l'affut - on y attend du gibier et on en rapporte des rhumatismes. Bal champêtre ou l'on pent juger de la lourdeur des pieds des paysans. Si l'on se fâche on juge de celles de leurs poings. Le Maître d'école. Punition terrible. .

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Book number: 05077

Catalogue: Illustrated Books

Keywords: Color-Plate Books Books in French Caricatures French Caricature

RACKHAM, Bernard

Ancient Glass of Canterbury Cathedral, the

London: Lund Humphries and Company, 1949. Bernard Rackham's "The Ancient Glass of Canterbury Cathedral" RACKHAM, Bernard. The Ancient Glass of Canterbury Cathedral. With a Foreword by the Late Archbishop Lord Lang of Lambeth. London: Published for the Friends of Canterbury Cathedral by Lund Humphries and Company, 1949. First edition. Large quarto (12 5/8 x 9 1/4 inches; 330 x 238 mm.). xvi, 194 pp. Twenty-one color plates, including frontispiece, on heavy gray stock, each with a leaf of descriptive text, and an additional eighty monochrome plates throughout the text. Original blue buckram decoratively stamped in gilt on front cover and lettered in gilt on spine. Top edge gilt. Upper corners lightly bumped. Some cellotape residue on front free endpapers from where a jacket once was attached. Otherwise a very good copy. With sticker at foot of title-page: Boston Book and Art Shop Inc. Boston, Massachusetts. Many of the windows of Canterbury Cathedral contain stained glass, in fact there is around 1200 square meters of stained glass in the Cathedral as a whole. The oldest glass in the building dates from the twelfth century and is over 840 years old. These particular windows show the genealogies (family trees) of biblical figures. Over the years, many of the original windows have been destroyed. Some were lost during the reformation and many more during the English Civil war. In 1942, during World War II, Canterbury suffered heavy bombing. Much of the remaining medieval glass in The Cathedral only survived because it had been removed and stored in crates for safe keeping at the beginning of the war. The windows of Canterbury Cathedral continue to bring color and light to the building, helping to create a sense of awe and wonder. Even today, new windows continue to be created for the Cathedral and a team of conservators work hard to look after the beautiful glass and ensure it will still be here for people to enjoy in the future. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 00170

Catalogue: Illustrated Books

Keywords: Illustrated Books Architecture Religion Architecture Religion

RACKHAM, Arthur; Walton, Izaak

Compleat Angler or the Contemplative Man's Recreation, the

London: George G. Harrap & Co. 1931. I Envy No Body But Him, And Him Only, That Catches More Fish Than I Do" [RACKHAM, Arthur, illustrator]. WALTON, Izaak. The Compleat Angler or The Contemplative Man's Recreation. Being a Discourse of Rivers, Fishponds, Fish and Fishing not unworthy the Perusal of most Anglers. Illustrated by Arthur Rackham. London: George G. Harrap & Co. [1931]. Limited to 775 numbered copies (this copy being No. 265), signed by the artist. Quarto (10 5/16 x 7 13/16 inches; 263 x 198 mm.). 223, [1] pp. Twelve color plates, with descriptive tissue guards, and twenty-five drawings in black and white. Title printed in green and black. Original full vellum over boards. Front cover lettered in gilt within a gilt triple-rule border, spine pictorially stamped and lettered in gilt with three gilt rules at top and bottom of spine. Top edge gilt, others uncut. Pictorial endpapers in reddish brown and white. In the original publisher's? white cardboard box. Spine very slightly creased otherwise a fine copy. "No fewer than six plates have landscape backgrounds, plates which should remind us of Rackham's very serious reputation as a landscape painter, with a fine vision of natural forms" (Gettings, Arthur Rackham, p. 159). Latimore & Haskell, pp. 66-67. Riall, p. 175. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02761

Catalogue: Illustrated Books

Keywords: Walton, Izaak Illustrated Books Children's Books Signed Limited Edition Angling Angling Seventeenth-Century Literature Signed Limited Edition

RACKHAM, Arthur; STARKIE, Walter

Spanish Raggle-Taggle

London: John Murray, 1934. RACKHAM, Arthur, illustrator. STARKIE, Walter. Spanish Raggle-Taggle. Adventures with a Fiddle in North Spain. London: John Murray, [1934]. First edition. Octavo (8 7/16 x 5 1/2 inches; 214 x 140 mm.). [xvi], 488 pp. Frontispiece and title-page vignette by Arthur Rackham. Folding map inserted at p. 482. Publishers red cloth over boards, front cover pictorially stamped in gilt, spine lettered in gilt, top-edge stained red. Bookplate on front paste-down, neat ink inscription on front fly-leaf. A fine copy in the original blue and white printed dust-jacket, spine slightly faded. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03883

Catalogue: Illustrated Books

Keywords: STARKIE, Walter Voyages and Travels

RACKHAM, Arthur; BERLYN, Annie

Sunrise-Land

London: Jarrold & Sons, 1894. One of Arthur Rackham's Earliest Works RACKHAM, Arthur, illustrator. BERLYN, Annie. Sunrise-Land. Rambles in Eastern England. By Mrs. Alfred Berlyn. London: Jarrold & Sons, 1894. First edition, first issue with advertisement for the Great Eastern Railway dated 1894. Small octavo (7 1/4 x 4 7/8 inches; 185 x 124 mm.). [vi], [x], [9]-345, [3], xi-xxii, [3] pp. With seventy-three vignette drawings by Arthur Rackham in the text. Publisher's gray cloth front cover pictorially stamped in colors, spine decoratively lettered in black and red, rear cover with publisher's stamp in blind. Minimal rubbing to spine extremities, corners very slightly bumped. A near fine copy. "Other commercial commissions were for an illustrated guide to Wells-next-the-sea (1894) and for seventy-five (sic) drawings in Sunrise-Land: Rambles in Eastern England by Mrs Alfred Berlyn (1894), both books carrying advertisements for the Great Eastern Railway." (Hudson, p. 38). "In the same year [1894].. appeared Sunrise Land by Annie Berlyn, to which Rackham provided seventy-three illustrations, all of the vignette type, most of them based on photographs, but in a quality of line which is refreshing in appearance.." (Gettings, p. 31). Latimore & Haskell, 3. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04707

Catalogue: Illustrated Books

Keywords: BERLYN, Annie Topography Voyages and Travels

RACKHAM, Arthur; GOLDSMITH, Oliver

Vicar of Wakefield, the

Philadelphia: David McKay Company, 1929. First American Deluxe Edition [RACKHAM, Arthur, illustrator]. GOLDSMITH, Oliver. The Vicar of Wakefield. Illustrated by Arthur Rackham. Philadelphia: David McKay Company, n.d. [1929]. First American edition, deluxe issue, limited to 775 copies (575 for England and 200 for the United States) signed by Arthur Rackham, this being copy no. 120. Quarto (10 5/16 x 7 3/4 in; 263 x 197 mm). Twelve full page color plates, twenty-two black and white line drawings. Publisher's white vellum with gilt-ruled borders and lettering. Pictorial endpapers. Top edge gilt, others untrimmed. Partially unopened. A fine copy. Chemised in a quarter green morocco clamshell case. "In the England of jazz and Noel Coward the whimsical and fantastic had grown increasingly out of fashion. With The Vicar of Wakefield of 1929.. Rackham played it safe by turning to historical costume.. in which he had long been supremely accomplished and successful" (Hudson, p. 126). "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). Hudson, p. 171. Latimore and Haskell, p. 65. Riall, p. 170. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02671

Catalogue: Illustrated Books

Keywords: GOLDSMITH, Oliver Eighteenth-Century Literature Irish Literature Signed Limited Edition

RACKHAM, Arthur; GOLDSMITH, Oliver

Vicar of Wakefield, the

Philadephia: David McKay Company, 1929. First American Trade Edition in The Original Pictorial Dust Jacket [RACKHAM, Arthur, illustrator]. GOLDSMITH, Oliver. The Vicar of Wakefield. Philadelphia: David McKay Company [1929]. First American trade edition. Quarto (9 1/2 x 7 1/8 inches; 242 x 182 mm.). 231, [1] pp. Twelve full page color plates, twenty-two black and white line drawings. Publishers dark blue ribbed cloth over boards, front cover and spine decoratively stamped in gilt. Pictorial endpapers, top edge gilt. Tiny and inconsequential split on lower edge of spine, otherwise a very fine copy with the original color pictorial dust jacket with a 'titled' version of the color plate "A Favourite Song of Dryden's" (facing p.36) on the front panel. Small piece missing from lower spine of jacket, a few small closed tears, otherwise excellent. "In the England of jazz and Noel Coward the whimsical and fantastic had grown increasingly out of fashion. With The Vicar of Wakefield of 1929 .. Rackham played it safe by turning to historical costume.. in which he had long been supremely accomplished and successful" (Hudson, p. 126). "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). Hudson, p. 171. Latimore and Haskell, p. 65. Riall, p. 170. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03637

Catalogue: Illustrated Books

Keywords: GOLDSMITH, Oliver Eighteenth-Century Literature Irish Literature

RACKHAM, Arthur; GOLDSMITH, Oliver

Vicar of Wakefield, the

Philadelphia: David McKay Company, 1929. First American Deluxe Edition [RACKHAM, Arthur, illustrator]. GOLDSMITH, Oliver. The Vicar of Wakefield. Illustrated by Arthur Rackham. Philadelphia: David McKay Company, n.d. [1929]. First American edition, deluxe issue, limited to 775 copies (575 for England and 200 for the United States) signed by Arthur Rackham, this being copy no. 101 of the American issue. Quarto (10 5/16 x 7 3/4 in; 263 x 197 mm). 231, [1] pp. Twelve full page color plates, twenty-two black and white line drawings. Publisher's white vellum, front cover ruled and lettered in gilt, spine decoratively tooled and lettered in gilt, pictorial endpapers, top edge gilt, others uncut. Some scattered foxing otherwise a very good copy. "In the England of jazz and Noel Coward the whimsical and fantastic had grown increasingly out of fashion. With The Vicar of Wakefield of 1929.. Rackham played it safe by turning to historical costume.. in which he had long been supremely accomplished and successful" (Hudson, p. 126). "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). Hudson, p. 171. Latimore and Haskell, p. 65. Riall, p. 170. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03911

Catalogue: Illustrated Books

Keywords: GOLDSMITH, Oliver Eighteenth-Century Literature Irish Literature

ROBERTS, David

The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia

London: Day and Son, 1855. The First Quarto Edition in the Deluxe Binding The Most Ambitious Work Ever Published In England With 250 Lithographed Plates ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia after Lithographs by Louis Haghe from Drawings made on the spot by David Roberts, R.A. With Historical Descriptions by the Revd. George Croly, L.L.D. London: Lithographed, Printed and Published by Day & Son, 1855-1856. First quarto edition. Six volumes bound in three quarto volumes (11 1/2 x 7 7/8 inches; 292 x 200 mm.). Complete with 250 tinted lithograph plates, including frontispiece portrait in Volume I, title-pages, and maps (untinted), all with tissue guards. Original 'deluxe' binding. Full dark green hard-grain morocco with triple fillets surrounding an elaborate, richly decorative gilt panel. Spines with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt ruled board edges, gilt decorated turn-ins, marbled end-papers, all edges gilt Rectangular engraved bookplate of S. Scott on front paste-downs. Some light intermittent foxing, mainly marginal, affecting the verso of the plates and the text. A wonderful set in its original deluxe binding with the plates far cleaner than is usually seen. This is the quarto edition of one of the most important and elaborate ventures of nineteenth century publishing, Roberts' monumental folio edition of the same title, considered to be the most ambitious work ever published in England with lithographed plates, and a book like no other: bigger, more beautifully bound, more lavishly illustrated. It was funded through advance subscriptions which Roberts directly solicited. The scenery and monuments of Egypt and Holy Land were fashionable but had hitherto been hardly touched by British artists, and Roberts quickly accumulated 400 subscription commitments, with Queen Victoria being subscriber #1. Her complete set is still in the Royal Collection. The plates were reduced to the necessary size for this edition by means of photography but nonetheless retain all the vibrancy of the folio plates. The man behind the world's most expensive travel book was no gentleman adventurer. David Roberts (1796-1864) was born at Stockbridge near Edinburgh, and at the age of ten apprenticed to house-painter Gavin Buego. After his apprenticeship he continued to work for Buego carrying out work on imitation stonework and panelling at Scone Palace and Abercairney Abbey. By 1818 Roberts had become assistant scene painter at the Pantheon Theatre in Edinburgh, moving on to theatres in Glasgow, and finally in 1821 to the Drury Lane Theatre in London, where he worked wth Clarkson Stanfield. Both artists exhibited at the Society on British Artists, Royal Academy, and by 1830 Roberts was firmly established as a topographical artist and was able to give up is theatre work. IN these early years he toured the Continent and Scotland, and in 1832-1833 visited Spain. In 1838, he made plans for his journey to the Near East, inspired by a love of artistic adventure. Departing in August 1839 for Alexandria, he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the following year he set out to cross the desert for the Holy Land by way of Suez, Munt Sinai, and Petra, arriving in Gaza, and then on to Jerusalem, concluding his tour visiting the biblical sites of the Holy Land for several months. He returned to England at the end of 1839. The drawings of his tour were subitted to F.G. Moon in 1840, who arranged to bring out a work illustrative of Scripture history, paying Roberts £3,000 for the copyright of the sketches, and for his labor in supervising Louis Haghe's lithography. Abbey, Travel, 388. .

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Book number: 05524

Catalogue: Illustrated Books

Keywords: Views Voyages and Travels

ROBINSON, W. Heath; Rabelais, François

Works of Mr. Francis Rabelais, the

London: Grant Richards, 1904. W. Heath Robinson's "Gargantua and Pantagruel" [ROBINSON, W. Heath, illustrator]. RABELAIS, François. The Works of Mr. Francis Rabelais Doctor in Physick Containing Five Books of the Lives, Heroick Deeds & Sayings of Gargantua and His Sonne Pantagruel..Illustrated by W. Heath Robinson. In Two Volumes. London: Grant Richards, 1904. First edition. Two quarto volumes (11 3/16 x 8 3/4 inches; 285 x 223 mm.). xlii, [1, blank], [1, illustration], 377, [1, blank]; xliv, 350, [2, blank] pp. Photogravure frontispiece in each volume, with tissue guard. Volume I with fifty-five full-page illustrations, fifty-nine grotesque heads, and twenty-six other small drawings or vignettes, all in line. Volume II with forty-three full-page illustrations, thirty-five grotesque heads, and thirty-four other small drawings or vignettes , all in line. Publisher's white buckram pictorially stamped and lettered in gilt on front cover and spine, pictorial end-papers, top edge gilt, others uncut. Corners slightly bumped, some light foxing to preliminary leaves and blank margins, otherwise a very good copy "[Robinson's] largest and most ambitious project to date.. was The Works of Rabelais which was published in two large volumes containing a hundred full page illustrations and well over a hundred smaller drawings and vignettes.. It is the full page drawings that are the most original, with visions of hell that are truly horrific, and a raw power and earthiness in the drawings that is exactly in tune with Rabelais' narrative style. These drawings must have influenced illustrators who followed and many of them bring to mind the work of Mervyn Peake forty years later" (Beare, p. 23). "The last serious piece of illustration that [Robinson] undertook in this first phase of his book illustrating career" (Lewis, p. 83). Beare 35A; Lewis, p. 215. .

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Book number: 00177

Catalogue: Illustrated Books

Keywords: Rabelais, François Illustrated Books French Literature European Literature French Literature Literature Sixteenth-Century Literature

[BIBLE IN LATIN]; SALOMON, Bernard, illustrator; ESTIENNE, Robert, translator

Biblia Sacra Ad Optima Veteris, Ut Vocant, Tralationes Exemplaria Summa Diligentia, Pariq[Ue] Fide Castigata

Lyon: Jean de Tournes, 1554. A Fine 1554 Robert Estienne Biblia Sacra With One Hundred and Ninety-Eight Superb Woodcuts by Bernard Salomon [BIBLE IN LATIN]. Biblia sacra ad optima veteris, ut vocant, tralationes exemplaria summa diligentia, pariq[ue] fide castigata. Lyon: Jean de Tournes, 1554. First De Tournes Latin Bible, based on Robert Estienne's text, and beautifully illustrated with 198 woodcuts by Bernard Salomon. Octavo (6 3/4 x 4 3/4 inches; 171 x 121 mm.) . [16], 1152, [76] pp. Arabesque title border and 198 (with 1 repeat) woodcuts in the text by Bernard Salomon. *Bound without the last two blank leaves. Title-page with faint early ink "ex-Libris petri ------ at top blank margin. Title-page expertly cleaned, some occasional mainly marginal faint foxing, otherwise a superb example of this wonderfully illustrated mid sixteenth-century Latin Bible. Contents: Old Testament; Psalms; New Testament, Epistles, Acts; Index Testimoniorum & Index Epistolarum. Bound ca. 1880 by Chambolle-Duru in full brown crushed levant morocco, spine with five raised bands, lettered in gilt, gilt ruled board edges, decorative gilt turn-ins, marbled endpapers, all edge gilt. Armorial bookplate "In Memori: Weiler, Bibliotheca Trautner Falkiana" on verso of front free endpaper. *As in most copies (e.g. Mortimer, OCLC) the last two leaves have been discarded. The penultimate leaf had only a fleuron at the foot of the page and the final leaf was blank. First De Tournes Latin Bible, based on Robert Estienne's text, and beautifully illustrated with 198 woodcuts by Bernard Salomon. "Considerable work could be done on Salomon's sources for these cuts. The Expulsion from Paradise suggests Holbein's version; the New Testament shows some dependence on the set owned by Sébastien Gryphius.. the Apocalypse blocks are enlarged copies of the fine Janot Apocalypse. But the cumulative effect of Salomon's carefully detailed scenes is that of an individual contribution to Bible illustration. Particularly interesting from the point of view of technique are the night scenes in Exodus and the storm over Noah's ark.. In this 1554 Bible, the New Testament blocks are printed with arabesque strip borders at the sides. Arabesque and type ornament headpieces.." (Mortimer) Robert I Estienne (1503-1559) was a 16th-century printer in Paris. He was the proprietor of the Estienne print shop after the death of his father Henri Estienne, the founder of the Estienne printing firm. Estienne published and republished many classical texts as well as Greek and Latin translations of the Bible. It was Estienne who created the best and final system of verse division and numbering that our Bibles exhibit today. Known as "Printer to the King" in Latin, Hebrew, and Greek, Estienne's most prominent work was the Thesaurus linguae latinae which is considered to be the foundation of modern Latin lexicography. Additionally, he was the first to print the New Testament divided into standard numbered verses. He was a former Catholic who became a Protestant late in his life. Many of his published Bibles included commentary which upset the Catholic theologians of the Sorbonne who sought to censor Estienne's work. Eventually, overcome by the prejudice of the Sorbonne, Estienne and his family fled to Geneva where he continued his printing uncensored, publishing many of the works of John Calvin. Bernard Salomon (1506-1561) was a French painter, draftsman and engraver. Little is known of the life of Bernard Salomon (also known as the Little Bernard B. Gallus or Gallo). His family may have been belt-makers in Lyon. He was commissioned to provide decorations for Ippolito II d'Este in 1540, Henry II of France in 1548, and Jacques Dalbon, Seigneur de Saint Andre in 1550. He worked closely with the printer Jean de Tournes to design, engrave, and illustrate many types of books such as emblem books, documentaries and scientific works, and literary works, including the Bible and Ovid's Metamorphoses (Lyon, Tournes, 1557). Salomon's figures were inspired by the elegant Mannerist art of the School of Fontainebleau, and were inspiration for engravers working in Lyon and became widely distributed and copied. He had a daughter who married the printer Robert Granjon. He is sometimes referred to as "'Petit", alluding to the intricate detail Salomon works into his designs in miniature scale. Brunet, I, 876 & Supplement I, 125; Darlow & Moule 6134 (note); Mortimer, French no. 81. .

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Book number: 05663

Catalogue: Illustrated Books

Keywords: SALOMON, Bernard, illustrator ESTIENNE, Robert, translator Bibles Books in Latin Early Books Fine Printing

SCHMIED, Francois-Louis, illustrator; MARDRUS, Joseph Charles, translator; GONIN, binder

La Creation Les Trois Premiers Livres de la Genèse Suivis de la Généalogie Adamique

Paris: F.L. Schmied aux dépens de M.M. Gonin et Cie. 1928. Francois-Louis Schmied's La Création - The First Three Chapters of Genesis With Two Original Watercolors and an Original Unpublished Pochoir Plate In a Superb Art Deco Binding by Gonin from a Design by Schmied SCHMIED, François-Louis, illustrator. MARDRUS, Joseph Charles, translator. GONIN, binder. La Création. Les Trois Premiers Livres de la Genèse suivis de la Généalogie Adamique, Traduction Littérale de Textes Sémitiques par le Docteur J.-C. Mardrus. Preface de M. le Professeur H. Roger, Doyen de la Faculté de Médicine, President de la Societé de Médecins Bibliophiles. Paris: F.L. Schmied aux dépens de M.M. Gonin et Cie. 1928. Number 8 of 175 copies signed by the artist, from a total edition of 195. This unique copy with two original watercolor drawings and an original color wood-engraved pochoir variant of plate XI "Le Glaive Flamboyant" which was not used. Folio (13 3/8 x 9 5/8 inches; 340 x 245 mm.). Printed on Velor Paper. Twelve color-printed wood-engraved pochoir plates by Schmied, (numbers I -VIII & X signed by Schmied in pencil), twenty-eight color-printed text illustrations throughout, most plates and illustrations heightened in gold or silver, with a twenty-two leaf decomposition of plate VIII, and with an additional forty-two leaf suite of the wood-engravings printed in black. All leaves mounted on stubs: Front wrapper, verso blank; [4, blank], [2, half-title, verso blank], [2, original signed full-page aquarelle (a larger version of the smaller 'text' illustration on page XXII, verso blank], [2, original signed aquarelle "Variante from l'Adam" ( a variation of plate 7 on page XXIX)], [2, Dedication from Mardrus to Schmied, [verso] limitation statement, [1-2, title-page, verso blank], 3-16, Preface, [I]-[LXXXIX, verso blank], [6, blank], [2, Suite des gravures en couleurs de l'examplaire, numbered and signed in pencil "8 15/xx F.L. Schmied", verso blank], [Duplicate suite of color illustrations 28 leaves printed on Chine, one signed in pencil by Schmied], [2, blank], [Rejected color plate "Planche dite = refusée / Cette composition a été remplacée par moi / dans l'ouvrage, par la Planche no. XI / F.L. Schmied"], [Decomposition of plate VIII "Frontispiece - L'Eden" (The Garden of Eden) 22 leaves], [2, blank], [Suite-témoin des gravures sur bois de l'examplaire numbered and signed in pencil "8 F.L. Schmied", verso blank], [42 leaves], [2, blank] pp. Occasional very minor offsetting from color plates to opposite text leaf, otherwise fine. Bound by Gonin ca. 1928, signed in gilt on front turn-in. The superb binding designed by Schmied for the publishers with an inlaid panel of Stingray Shagreen, is an adaptation of the first plate "La Création". In Christianity, the stingray is a symbol of faith. It is believed that the stingray is a sign of God's protection over those who believe in him. Christians also believe that the stingray is a reminder of the power of faith and its ability to provide guidance and strength. Maroon morocco over red morocco, front cover with large vertical inlaid mosaic panel of pink and two shades of brown Stingray Shagreen. At the top and bottom of this panel are two small and two large inlaid panels of dark brown and light brown morocco. The title "La Création" is inlaid in tan morocco and the foredge of the board is decoratively ruled in silver. Smooth spine lettered in gilt, lower cover with similar foredge of the board design - but in gilt. Gilt-ruled inside covers surrounding doublures of olive green calf with linear decorations in tan morocco and gold and silver fillets, red and gold cloth decorated endleaves, blue marbled endpapers, all edges uncut. Housed in a later suede-lined, red morocco edged slip case. Loosely inserted is slip with "2 aquarelles originales", the original typed catalog description of Parisian bookseller Pierre Chretien with his silver book ticket. The spine and the lower corner of the rear cover had been the victim of smoke damage - we sent the book to Isabelle Devauchelle in Paris who has miraculously renewed the spine to the exact color, texture and specification of the original and restored the lower corner of the rear cover. She also made the matching slipcase. Apart from some very slight darkening of the top edge it is almost impossible to tell that anything has ever been done. "A daring and innovative design with the copy of the first two books set in capital lettered in narrow columns with decorative bars to fill out the lines where necessary. The small illustrations in the columns are brilliant in color. Dominating full-page illustrations break the continuity of the text. The format is completely changed in Book Three with a wider measure of type and the illustrations integrated with the text. There are 175 copies numbered and signed by Schmied plus twenty copies for those involved in the production. There were also fifteen suites of the illustrations in color and an unknown number of sets of the preliminary proofs in black. It was published by Schmied in conjunction with Gonin of Lausanne, with whom he collaborated on many later books." (Ward Ritchie. Art Deco. The Books of François-Louis Schmied. Number 27 - page 33). At the beginning of the 1920s the brothers André and Philippe Gonin decided to turn their love of books into a business. They had grown up around bibliophile books in their parents' shop in Lausanne, so it is no wonder that they aimed to produce the finest possible books for discerning collectors. Philippe Gonin had worked in Paris as a printer and publisher, producing wonderful illustrated classics from authors like Ovid, Horace and Virgil, as well as more "modern" works by the likes of de La Fontaine. At the same time, André Gonin took over the family bookstore in Lausanne, and published a distinguished series of bibliophile books on the side, illustrated by some of the most famous artists of the day. Ritchie 27 (p. 33). .

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Book number: 05296

Catalogue: Illustrated Books

Keywords: MARDRUS, Joseph Charles, translator GONIN, binder Bibles Fine Bindings Books in French Classical Literature