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The Gentleman and Cabinet-Maker's Director: being a large collection of the most elegant and useful designs of household furniture, in the most fashionable taste ... The Third Edition
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The Gentleman and Cabinet-Maker's Director: being a large collection of the most elegant and useful designs of household furniture, in the most fashionable taste ... The Third Edition

By CHIPPENDALE, Thomas (1718-1779)

London: Printed for the Author, 1762. Folio. (17 1/2 x 10 3/4 inches). [2], 20pp. Engraved dedication, 200 engraved plates by Darly, Foster, Taylor, Cloues, Miller and others after designs by Chippendale. Contemporary mottled calf, expertly rebacked to style Provenance: James Malcom, Halifax NS (signature on title dated 1827); John Brander, Halifax NS (inscription dated 1891) The third and best edition of Chippendale's groundbreaking furniture pattern book, the first and most important published book of furniture designs in 18th century England: this copy with provenance to a 19th century Canadian cabinetmaker. The Director was intended to function as a trade catalogue. The third, and best, edition, containing an additional 39 plates not found in the previous editions of 1754 and 1755, and the last edition to be published in Chippendale's lifetime. The third edition began to appear in installments in 1759, and was completed in 1762. Although Thomas Chippendale's famous pattern book, The Gentleman and Cabinet-Maker's Director, was first published in 1754 and reissued the following year, it was only with a greatly enlarged new edition in 1762 that it had a serious influence in America, particularly in Philadelphia. Several copies are known to have been available there during the 1760s and, not surprisingly, Chippendale's richly carved style had a pervasive influence on local cabinetmaking" (Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000). The Director principally depicts four of Chippendale's most famous styles: English, French rococo, Chinoiserie, and Gothic. "His special claim for artistic fame is as a brilliantly original, innovative, and influential designer who also made masterpieces of furniture. His designs were plagiarized from at least the early Victorian period by the publisher John Weale, and more or less free adaptations from The Director have been a staple product of commercial furniture makers since the mid-nineteenth century. Chippendale's Director was extensively used by furniture makers, making copies with the plates in good condition exceptional. Brunet I, 1844; ONeal 26. Berlin Catalogue 1227.

$14000.00

A Catalogue of the Books, Belonging to the Library Company of Philadelphia; to which is prefixed, a short account of the institution, with the charter, laws and regulations
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A Catalogue of the Books, Belonging to the Library Company of Philadelphia; to which is prefixed, a short account of the institution, with the charter, laws and regulations

By LIBRARY COMPANY OF PHILADELPHIA

Philadelphia: Zachariah Poulson, Jr., 1789. 8vo. (8 1/4 x 4 7/8 inches). xl, 406, [2]pp. Errata leaf in rear. Dampstaining to endpapers, small area clipped from head of title without loss to text. Contemporary calf, flat spine ruled in gilt, red morocco lettering piece Catalogue of the famed library founded by Benjamin Franklin, published during the time when it served as the Library of Congress. The first catalogue of the Library Company was printed by Benjamin Franklin in 1741. Winans describes this edition of the catalogue (quoting from an advertisement) as a "social library catalogue: 4000 full author entries, with place and date of publication, numbered accession/shelf numbers, arranged by subject, and then by format within each subject ... donors of books are identified." "The 1789 catalogue was a radical departure from all other early American library catalogs. It listed books by subject, according to a scheme derived from the Diderot Encyclopédie, which divided all knowledge into three categories, Memory, Reason, and Imagination, that is history, arts and sciences, and belles lettres. Library catalogues are not only finding aids but also potentially a means of imposing intellectual order on a diverse collection and constituting it as an organic whole. The Library Company's 1789 catalogue did this brilliantly. Here for the first time the book culture of the old world was reconciled with the homely, quotidian realities of the new" (James Green, "Building a Library by Collecting Collections" [2004], p. 3). Includes a 7pp. list of members of the Library (including Benjamin Franklin), as well as an author index in the rear. Evans 22066; Sabin 61785; Winans 131.

$3000.00

The Gentleman and Cabinet-Maker's Director: being a large collection of the most elegant and useful designs of household furniture, in the most fashionable taste ... The Third Edition
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The Gentleman and Cabinet-Maker's Director: being a large collection of the most elegant and useful designs of household furniture, in the most fashionable taste ... The Third Edition

By CHIPPENDALE, Thomas (1718-1779)

London: Printed for the Author, 1762. Folio. (14 3/4 x 9 3/4 inches). [2], 20pp. Engraved dedication, 200 engraved plates by Darly, Foster, Taylor, Cloues, Miller and others after designs by Chippendale. (Trimmed close at fore-edge with minor loss to captions and plate numbers of some landscape oriented plates). Contemporary reverse calf, covers elaborately paneled in blind, expertly rebacked to style retaining the original red morocco lettering piece. The third and best edition of Chippendale's groundbreaking furniture pattern book, the first and most important published book of furniture designs in 18th century England. The Director was intended to function as a trade catalogue. The third, and best, edition, containing an additional 39 plates not found in the previous editions of 1754 and 1755, and the last edition to be published in Chippendale's lifetime. The third edition began to appear in installments in 1759, and was completed in 1762. Although Thomas Chippendale's famous pattern book, The Gentleman and Cabinet-Maker's Director, was first published in 1754 and reissued the following year, it was only with a greatly enlarged new edition in 1762 that it had a serious influence in America, particularly in Philadelphia. Several copies are known to have been available there during the 1760s and, not surprisingly, Chippendale's richly carved style had a pervasive influence on local cabinetmaking" (Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000). The Director principally depicts four of Chippendale's most famous styles: English, French rococo, Chinoiserie, and Gothic. "His special claim for artistic fame is as a brilliantly original, innovative, and influential designer who also made masterpieces of furniture. His designs were plagiarized from at least the early Victorian period by the publisher John Weale, and more or less free adaptations from The Director have been a staple product of commercial furniture makers since the mid-nineteenth century. Chippendale's Director was extensively used by furniture makers, making copies with the plates in good condition exceptional. Brunet I, 1844; ONeal 26. Berlin Catalogue 1227; Millard, British 15.

$12000.00

Catalogues de livres rares et précieux
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Catalogues de livres rares et précieux

By DESTAILLEUR, Hippolyte (1822-1893)

Paris: Damascene Morgand, 1891. Large 8vo. (11 x 7 1/2 inches). Half-title. [4], xv, [1], 448pp. Uncut. Contemporary three quarters brown morocco over marbled paper covered boards, flat spine paneled and lettered in gilt, marbled endpapers, top edge gilt An important sale of the library of the noted French architect and interior designer, in a fine leather binding His collection focussed on French artists of the 18th and 19th centuries and was here sold in 2004 lots over twelve days, realizing over 500,000 fr. A second auction was held in 1895, two years after his death.

$250.00

An Artist's Index to Stauffer's "American Engravers"
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An Artist's Index to Stauffer's "American Engravers"

By GAGE, Thomas Hovey

Worcester, MA: American Antiquarian Society, 1921. 49pp. Original green paper wrappers, small loss to lower right front cover and lower left rear cover An essential reference An index to the more than 3400 engravings catalogued in Stauffer's "American Engravers Upon Copper and Steel", alphabetized by artist, with subject, engraver, and Stauffer number for each print. The index lists works after Gilbert Stuart, Thomas Sully, Henry Inman, and William & Thomas Birch.

$45.00

A Guide to Audubon's Birds of America: A Concordance Containing Current Names of the Birds, Plate Names With Descriptions of Plate Variants, a Description of the Bien Edition, and Corresponding Indexes
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A Guide to Audubon's Birds of America: A Concordance Containing Current Names of the Birds, Plate Names With Descriptions of Plate Variants, a Description of the Bien Edition, and Corresponding Indexes

By LOW, Susanne M.

New York and New Haven: Donald Heald and William Reese Company, 2002. (11 1/2 x 8 3/4 inches). 384pp., 436 black & white illustrations in the text (illustrating each of the plates in the double elephant folio), 10 colour illustrations. Gilt stamped blue cloth, illustrated dust jacket. A comprehensive reference work for collectors, dealers, art historians, students of natural history, and bird enthusiasts. With new up-to-date information, revisions, and extensive additions (including a section on the Bien edition), superseding and surpassing her earlier work. This beautifully produced book provides easily accessible information about each one of the 435 plates in the double elephant folio, including variant plate names, names of the birds in the octavo and Bien editions, and the current names of the birds according to the American Ornithologists Union's most recent Checklist, as well as pertinent historical details about the creation of each plate and discussion of taxonomic changes. A special feature of the book is the section devoted to the description of each of the plates in the comparatively little-known Bien edition. The informative introduction details the history of the creation of the double elephant folio. This includes a description of the collaboration between Audubon and the men who transformed his originals into prints, W. H. Lizars, Robert Havell Sr., and, most importantly, Robert Havell Jr., with discussion of the artistic techniques involved in the process. Ornithological taxonomy is also succinctly explained, and will help the reader to understand some of Audubon's difficulties as well as the evolution of bird names. The descriptions of the double elephant folio plates are followed by three indexes: one of current names of the birds depicted, one of double elephant folio plate names, and one of the names on the original paintings, thus offering the reader several ways to locate a particular bird or plate. Similarly, the Bien section is also followed by indexes of current names and plate names. In addition, there are three appendices. The first identifies the persons whose names appear in the nomenclature of The Birds of America . The second appendix describes the unusual composite plates that appear in some editions, and the third contains charts of the most complicated situations that arose from the transfer of Audubon's originals to the finished plates. Finally, a beautiful colour insert illustrates a few of the more interesting situations that are described in the book, such as colour differences between prints of the same bird, comparison of an Audubon original and corresponding print, and comparison of variant plate legends, among others.

$45.00

Tom Thomson The Silence and the Storm
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Tom Thomson The Silence and the Storm

By THOMSON, Tom (1877-1917). - Harold TOWN (1924-1990) and David P. SILCOX

Toronto: McClelland and Stuart, 1977. Oblong folio. (14 x 17 inches). Original two-colour lithographed portrait of Thomson by Town, signed and numbered in pencil by the artist, 185 mounted coloured illustrations after Thomson, 81 uncoloured illustrations, most after or of Thomson. Original brown reversed calf, the upper cover and spine blocked in gilt, light blue watered silk endpapers, glassine wrapper, publisher's hessian-covered slipcase The edition de luxe, number 78 of 135 numbered copies, signed by Town and Silcox, with an original lithograph "Portrait of Tom Thomson" : "What finally matters most in painting, is looking and savouring" (preface). A fine record by artist Harold Town and noted art historian David Silcox of the life and work of the influential early 20th-century Canadian artist Tom Thomson. He died early, but his work proved to be a direct influence on the group of Canadian painters that would come to be known as the Group of Seven. His work continued to affect (less directly) the work of subsequent generations of Canadian artists, including Town, who produced the fine lithographic portrait of Thomson included in this work.

$1250.00

Practical Hints on Decorative Printing, with illustrations engraved on wood and printed in colours at the type press
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Practical Hints on Decorative Printing, with illustrations engraved on wood and printed in colours at the type press

By SAVAGE, William (1770-1843)

London: published for the Proprietor by Messrs. Longman, Hurst, Rees, Orme and Brown [and others], 1823. Folio. (14 5/8 x 10 3/8 inches). Letterpress title printed in red and black within a typographic border, 3pp. list of subscribers, 1p. Address dated 25 March 1823. Additional title printed in gold and colours (on india paper mounted), dedication to Earl Spencer printed in colours (on india paper mounted), 52 plates (most printed in two or more colours, one heightened with gold, and including the 9 cancelled plates on 5 sheets), 3 illustrations, and 6 colour-printed head-pieces. Expertly bound to style in half red straight grain morocco over period plain cream paper covered boards, spine with raised bands in six compartments, lettered in the second compartment, the others with a repeat decoration in gilt Provenance: Charles C. Bubb (bookplate) Very rare large-paper copy of Savage's extraordinary tour-de-force: an influential and beautiful work on colour-printing. The whole edition was to have been limited to no more than 335 copies, but in the end only 227 copies were subscribed for and this can be stated with certainty as being the actual number produced as Savage deliberately destroyed the blocks in order to ensure that no more copies could be printed. The edition was issued in two forms: 127 copies in quarto (the Abbey copy is 10 1/8 inches tall) at 5 guineas and 100 copies on large paper, as here, at 10 guineas. The large paper issue of this work was limited to 100 copies and is rare. The underlying reason for the work is quite interesting: Savage wished to present his new oil-free printing ink in a form which allowed for its full potential to be demonstrated. The result is a masterpiece . "Savage's magnum opus, which was announced in 1815, appeared in parts between 1818 and 1823. It is both a highly idiosyncratic volume and a notable landmark in the history of color printing from wood, anticipating Baxter by about ten years" (Ray, The Illustrator and the Book in England ). The technical aspects of the work are truly extraordinary: one highlight amongst many is a colour print, which Burch notes is printed from twenty-nine separate blocks, and which therefore qualifies as "the most complicated print ever printed in colours from wood blocks." This copy with appropriate provenance to the library of Arts and Crafts Movement printer Charles C. Bubb, the founder of the Clerk's Press. Abbey Life 233; Bigmore & Wyman, II, pp. 297-301; Burch Colour Printing pp.116-121; Friedman 35-38; Lowndes III, p.2194; Printing and the Mind of Man 141; Ray The Illustrator and the Book in England 99.

$13500.00

Annals of the Artists of Spain ... [With:] Talbotype Illustrations to the Annals of the Artists of Spain
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Annals of the Artists of Spain ... [With:] Talbotype Illustrations to the Annals of the Artists of Spain

By STIRLING-MAXWELL, Sir William (1818-1878); and Nicolaas HENNEMAN (1813-1898, photographer)

London: John Ollivier, 1848. 4 volumes, large 8vo. (10 3/4 x 7 1/8 inches). [Vols. I-III:] Text ruled in red throughout. Letterpress title pages printed in red and black (with a duplicate title in vol. 3), color lithographed additional title pages (with an additional unnumbered title in vol. 3), 14 plates (including 12 mounted India paper proofs), numerous text illustrations. [Vol. IV:] Interleaved with blanks throughout, mounted Talbotype title, mounted Talbotype dedication, 66 mounted Talbotype photographs (on 62 leaves, one double-page), all by Nicolaas Henneman. Contemporary full red morocco by F. Bedford, covers elaborately gilt with the arms of Spain on the upper covers and Stirling's monogram on the lower covers, spines with raised bands in six compartments, lettered in the second and third, the others with a repeat decoration in gilt, marbled endpapers, g.e. Provenance: John Dundas (presentation inscriptions by the author dated 18 July 1848 [vol. I] and 12 August 1848 [vol. iv]); F. E. Dinshaw (armorial bookplate) An incunable of 19th century photography: one of 25 large-paper presentation copies of Stirling's groundbreaking study of Spanish art illustrated with photographs by Henry Fox Talbot's assistant. One of the earliest and rarest of all photographically illustrated books and the first photographically illustrated book on art. "The existence of this fourth volume of Talbotypes has enabled the Annals of the Artists of Spain to be hailed as the first art history book to be illustrated with photographs ... this volume marked the beginning of a revolution in the methodology of art history, in which photographs and photographically illustrated books would become essential tools" (Macartney). In the mid-19th century, Spanish art was not well studied or appreciated outside of Spain. On a Grand Tour journey to Spain and the Middle East in the early 1840s, however, Stirling was greatly influenced by the art of the region and began collecting in earnest. Upon return to England, and seeing a very slender body of English work on the subject, he conceived the present work. After a draft of the work was rejected by publisher William Murray in 1845, Stirling decided to privately-print this groundbreaking history which introduced the artists El Greco, Velazquez, Murillo, Ribera and Goya to much of the English speaking world. Of the text, Stirling would print 750 regular copies (of which 25 were specially bound), and 25 large-paper copies (like the present), described in the limitation: "with red marginal lines, proof impressions of the plates on India paper, and two extra plates." To these large-paper, presentation copies, a fourth volume was added, containing 66 illustrations reproducing examples of Spanish art using "the beautiful photographic process invented by Mr. Fox Talbot" (vol. IV Preface). The photographs in the fourth volume are by Nicolaas Henneman, William Fox Talbot's assistant, who is described by Stirling as "the intelligent agent of the inventor" (vol. IV Preface). It is unclear what prompted Stirling to illustrate the presentation copies using the new art of photography. On his initial tour in Spain, like many of the tourists from that period, he brought with him a camera lucinda. His interest in photography was no doubt further advanced by the publication of Talbot's Pencil of Nature (1844-46) and Sun Pictures of Scotland (1845), both of which had avid following among the Scottish elite. Macartney further suggests that Stirling would have realized the duality between the exact reproductive nature of photography and the defining realism portrayed in Spanish art relative to Italian art. Nevertheless, using photography to illustrate these Spanish masterpieces was not without considerable difficulty. Indeed, the art selected to be photographed was greatly limited by size and the necessity of bringing the art outside into the sunlight to be photographed. Early on, Stirling also realized the delicate nature of Talbotypes, writing to a bookdealer in 1856 - just eight years after publication - that a client not rebind the photographs into the text of the Annals (i.e. instead of their being in a separate volume, as intended), writing, "He is lucky if his set is not fading, or faded; wh. I fear all have, is further increased, according to some people's opinion, if the plates are faced by paper of some particular quality..." (quoted in Macartney). Many of the extant copies of the photographs show considerable retouching; the present set without these crude repairs. The experimental nature of this incunable of photography is further evidenced by the strict limitation of copies printed. The large-paper issue was limited to only 25 sets. However, from Henneman's records which have survived, 50 sets of the photographs were printed. Macartney suggests that these 25 additional sets were printed and mounted on smaller sheets to accompany the 25 "specially bound" sets of the regular issue text; another possibility is that they could have been printed to supply replacement photographs to the presentation copies. Either way, it stands to reason, that the best prints were selected for the deluxe, large-paper presentation issue. "Because of its method of illustration [Stirling's Annals ] is to be regarded as the cornerstone of all modern artistic connoisseurship, for it contained the first exactly repeatable pictorial statements about works of art which could be accepted as visual evidence about things other than mere iconography. It was no longer necessary to put faith in the accuracy of the observation and skill of the draughtsmen and the engravers. These reports were not only impersonal but they reached down into the personality of the artists who made the objects that were reproduced" (Ivins). The four-volume, deluxe, large-paper, presentation issue with the photographs is exceedingly rare. Of the 25 copies which were printed, Macartney estimates that only 16 are extant (including examples in the British Library, the Metropolitan Museum of Art, the Hispanic Society of America, Museo del Prado, and the National Library of Scotland). The present copy, in a glorious binding by Bedford, is inscribed by Stirling to noted solicitor and Writer to the Signet John Dundas, who was a relative of the Stirling family, and a close associate and neighbor of the author's father. Truthful Lens 157; Gernsheim 9; Macartney, H. "William Stirling and the Talbotype Volume of the Annals of the Artists of Spain" History of Photography , 30 (4). pp. 291-308; Ivins, Prints and Visual Communication , p. 124; Encyclopedia of Nineteenth Century Photography , vol. 1, pp. 648-650.

$57500.00

The Baur Collection [Vols 1-3]
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The Baur Collection [Vols 1-3]

By BAUR COLLECTION. - John AYERS and others

Geneva: Collections Baur, 1972. 3 volumes (vols. 1-3), quarto. (11 1/8 x 8 7/8 inches). Text in English and French. Numerous plates, most coloured, some folding. (vol. 3 with minor marginal waterstaining affecting first 16 leaves but not affecting text or illustrations). Original cloth, dust-jackets (slight wear to dust jackets) Alfred Baur (1865-1951) gave his collection to the foundation which bears his name shortly before he died. He began collecting in about 1907 and continued right up until his death, but little was known of the breadth and quality of his collection until the present catalogues were published: The individual catalogues present here are as follows: 1. John AYERS. The Baur Collection ... Chinese Ceramics volume one (with Korean and Thai wares). Geneva 1968. One of 1000 copies. 2. John AYERS. ... Chinese Ceramics volume two (Ming porcelain, and other wares). Geneva: 1969. One of 1000 copies. 3. John AYERS. .... Chinese Ceramics volume three Monochrome-glazed porcelains of the Ch'ing dynasty . Geneva: 1972. One of 1000 copies.

$2500.00

Les Cartes a Jouer du XIVe au XXe siècle
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Les Cartes a Jouer du XIVe au XXe siècle

By D'ALLEMAGNE, Henry-Réné (1863-1950)

Paris: Librairie Hachette & Cie, 1906. 2 volumes, large quarto. (12 5/8 x 10 inches). Titles in red and black, half titles. 180 plates (122 coloured, five mounted), numerous uncoloured illustrations (many full-page). Expertly bound to style in red half morocco over the original boards, titled in gilt on spine, original hand-coloured illustrated cream thick-paper wrappers folded and bound in at the front of each volume, top edge gilt (neat repair to foot of spine of vol. I) Provenance: Monsieur Bois ("exemplaire imprimé pour Monsieur Bois" on verso of half title in vol.I). A spectacular demonstration of the art of book production, and a valuable source of information on the history of the playing card. This exhaustive treatise covers the origins and evolution of the playing card from the earliest known examples in the Middle Ages, describing their evolution and the changing techniques employed in their manufacture, and offering notes on those involved in their trade. Also covered are the social aspects which surrounded playing cards and games of chance and skill that developed, and towards the end of volume II is a valuable "Bibliographie des ouvrages sur les cartes à jouer". The period covered in this beautiful and erudite work is from the fourteenth to the beginning of the twentieth centuries. The title to the first volume notes that this work contains images of 3200 cards, with 956 in colour, and in addition there are hundreds of uncoloured illustrations, most reproducing earlier images. The printed note on the verso of the half-title of vol.I "exemplaire imprimé pour Monsieur Bois" indicates that this issue is from a limited edition of some description - unfortunately there is no other indication of how many copies were printed.

$2000.00

American Engravers upon Copper and Steel
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American Engravers upon Copper and Steel

By STAUFFER, David McNeely, & Mantle FIELDING

New York [vols I and II] and Philadelphia [vol.III]: Grolier Club [vols. I and II], 1917. 3 volumes (including the "Supplement"), octavo. (9 3/8 x 6 1/4 inches). Vols. I and II: titles in brown and black, half-titles. 43 plates (2 folding), half-titles; "Supplement": half-title. 3 plates. Contemporary blue morocco gilt, covers with elaborate overall design of gilt fillets strapwork and cornerpieces with scrolling foliage and pointillé work, spines in six compartments with raised bands, lettered in the second and fourth compartments, the others with elaborate overall repeat decoration, blue morocco turn-ins and pastedowns with panelled decoration in gilt, silver/grey watered-silk doublures, neat repairs to hinges of one volume. Provenance: Frederick W. Skiff (1867-1947, bibliophile, author and Grolier Club member, bookplate) The finely-bound Skiff set of Stauffer's standard work on the subject, including Fielding's supplement. The first two volumes are from an edition of 353 sets, this set one of 350 printed on "imported mold-made paper." The first volume is sub-titled "Biographical sketches illustrated" and includes the 43 plates; vol. II is sub-titled "Check-list of the works of the earlier engravers." Mantle Fielding's work is a supplement to both of the earlier volumes and is limited to 220 copies signed by the author, this copy numbered 131.

$1250.00