Firsts London, 2024 – Fair list: Sims Reed Rare Books

Reed Rare Books

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image: David Hockney, see no. 29

Cover

Stand D21

Saatchi Gallery, Duke of York's Square Kings Road, London SW3 4RY

The 6th Annual edition of FIRSTS

Hawksmoor, Nicholas

Jones, Inigo

Price, Francis

Smirke, Sydney

Elementa Religionis Polyglotta

Epistolae et Evangelia

Methode et Invention Nouvelle de Dresser les Chevaux (Cavendish)

Doves Press: Keats Poems (Thiersch)

Bury, Thomas Talbot

Blake, William Haesler, Henry

Hogarth, William Macleay, Kenneth

Richards, Ceri Rothenstein, William

Doesburg/Schwitters: kleine dada soirée

Breton/Duchamp: First Papers of Surrealism

Ernst, Max

Hockney, David

Kasmin Gallery

Klein, Yves

Doesburg/Schwitters

Betjeman, John

Browning, Robert

Goethe, Johann Wolfgang von

Emerson, Ralph Waldo

Jonson, Ben

Keats, John

Manzoni, Alessandro

Marinetti, Filippo Tommaso

Metronome Press)

Thomas, Dylan

Percy, Bishop Thomas

Ashendene Press

De La More Press

Doves Press

Eragny Press

Vale Press Penn, Irving

Serra, Richard

Talbot, William Henry Fox

Thomson, John

Broodthaers, Marcel

Derain, André

Doesburg, Theo van

Duchamp, Marcel

Ernst, Max

Finlay, Ian Hamilton

Gilbert & George Hockney, David Jones, Allen Klein, Yves Leavitt, Nancy Iliazd (Zdanevich) Masson, André Penn, Irving Phillips, Tom Picasso, Pablo Pissarro, Ludovic Rodo Serra, Richard Schwitters, Kurt Siegelaub, Seth Warhol, Andy

Boilvin, Emile Hockney, David Jones, Allen Masson, André Picasso, Pablo Richards, Ceri

Doesburg/Schwitters

ANON. (Henry Aldrich?). Elementa Religionis Polyglotta Una cum Hymnis qui ex S[ancto] Scriptura derumpti in Ecclesia Cantantur. (Oxford?). 1666.

Large 8vo. (220 × 148 mm). [68 leaves including blanks]. Full contemporary crushed morocco by the Queens’ Binder A (William Nott?), boards with double roll tool border within double fillet to surround a beautiful geometric interlacing décor with additional decorative floral, guilloche and volute tools, banded spine with gilt cruciform composition in six compartments, board edges and turn-ins with roll tool décor, comb marbled endpapers, a.e.g. ¶ A beautiful, complex and elaborately sophisticated document: an extraordinary and mysterious seventeenth century manuscript collection of illustrated polyglot prayers – testament perhaps to the legacy of the London Polyglot – in an exquisite contemporary English binding of red morocco. This extraordinary volume comprises Christian prayers and texts (the Confession of Faith, Ten Commandments, the Eucharist, Benedictus, Magnificat and Nunc Dimitis and others) in a variety of Middle-Eastern and European languages including Greek, Latin, Hebrew, Arabic, Chaldean, Syriac, Farsi, Ge’ez, French, Italian, Spanish and German. The volume is composed in the Arabic and Hebrew manner, i.e. reading from right to left, and is illustrated with a series of striking contemporary compositions including the architectural title, portraits of Jesus as the Salvator Mundi, the Virgin Mary, the Apostles and others such as Moses and Simeon. [see BL Sloane MS 5242; see Howard M. Nixon’s ‘Five Centuries of Bookbinding’ & ‘English Restoration Bookbindings’; see ‘Miriam Foot’s ‘The Henry Davis Gift’ vol. II; see Maggs’ ‘Bookbinding in Great Britain’ (i.e. Catalogue 966); see Brian Walton’s ‘Biblia Sacra Polyglotta’]. – £45,000

(ANON). An Appeal to Caesar, On the Nature and Situation of Our Public Affairs. By An Englishman. London. Printed for W. Webb, near St. Paul's. 1746. 8vo. (226 × 148 mm). pp. (i), (i), 51. Half-title with printed text between printed rules, title with decorative woodcut vignette and text with

heading 'To the King' and decorative woodcut four-line opening initial, final leaf with signature 'Your Majesty's / Most dutiful and affectionate / Subject and Servant / An Englishman' and blank verso. Stitched as issued on uncut sheets, central tear to final leaf not affecting text. ¶ A good copy of this scarce pamphlet arguing for economic and tax reform during the reign of George II. Addressed to the King in rhetorical form, the author argues from the position that ‘the great political maxim of a free state, is to avoid all possible occasions of taxation.’

Written at the time of political upheaval and Jacobite rebellion at home, the War of the Spanish Succession in Europe and general economic uncertainty, the authorial tone is that of reason, logic and altruistic patriotism. The state of the nation is analysed from an economic perspective and arguments are raised against the window tax, the inequality of the land tax, the imposition of duty on various goods (among them leather and 'tea, malt, beer, soap, candles, salt, sugar, rum &c.'), smuggling and the loss of money abroad spent by English soldiers on campaign against the French. If the three evils of the 'Taxes, the Smugglers, and Rebels' can be 'cured' then the King would be 'the greatest prince on earth' and the King's 'subjects the happiest people'.

– £750

A SHENDENE PRESS. Tolstoy, Leo. Maude, Louise & Aylmer Maude (Trans). Where God Is Love Is. Chelsea / Chantmarle, Dorset. (The Ashendene Press). 1924, Christmas.

8vo. (207 × 148 mm). [16 leaves; pp. (i), 26, (i)]. Original publisher’s blue printed paper wrappers with Yapp edges. ¶ The scarce Christmas Ashendene translation of Tolstoy. From the edition limited to c.200 copies on paper. Printed at Essex House, Chelsea, ‘Where God Is Love Is’, was issued ‘With All Good Wishes for a Merry Christmas and a Happy New Year from St. John and Cecily Hornby’ ‘for their friends whom God preserve this Christmastide’. [Hornby ‘Minor Pieces’ IX]. – £2,250

BETJEMAN, John. English Cities and Small Towns. London. William Collins. 1943. 03.

8vo. (222 × 166 mm). pp. 47, (i). Original publisher's terracotta paper-covered boards with illustration and text in white, matching paper dust-jacket. ¶ A very good copy of the first edition with the dust-jacket. ‘Mr. Betjeman knows England as few other writers know it ... To those who know Mr. Betjeman's poetry, this book will merely be a confirmation of those rare qualities of wit, observation and discrimination with which they are familiar.’ (From the dust-jacket). This copy with a presentastion on front free endpaper: ‘Harold, / Love From, / Betty. / Feb. 22nd. 1944.’ – £100

BLAKE, William. The Marriage of Heaven and Hell. (London). (John Camden Hotten). (1868).

4to. (251 × 200 mm). [27 leaves]. Original publisher's vellum-backed blue paper-covered boards. ¶ The first published facsimile of any of William Blake's illuminated books, John Camden Hotten's ‘The Marriage of Heaven and Hell’. From the edition limited to 150 (possibly 153) copies.

This facsimile, made c.1868 and the first of any of William Blake's illuminated books, features lithograph text and illustration with the colour provided in watercolour by hand. Blake's original work, printed using copper engraving for the text and outlines and then finished by hand, was produced c.1790–1795 and is extant in only nine complete copies, each unique, and some fragments. This facsimile was produced by using copy ‘F’, dated by scholars to c.1795, now held by New York's The Morgan Library & Museum. At the time the facsimile was produced the original was in the collection of Richard Monckton Milnes, Baron Houghton (1809 – 1885) and as per ‘Blake Books’, Houghton lent it to the publisher John Camden Hotten for reproduction. A note in the supplement volume to ‘Blake Books’, taken from ‘Sir Geoffrey Keynes’ copy of his ‘Bibliography’ (1921) (now in Cambridge University Library)’ suggests otherwise: ‘Edward Gordon Duff told John Sampson that Lord Houghton lent his copy of the original to Swinburne, and that Camden Hotten made his facsimile [1868] without permission, whereat Lord Houghton was much incensed.’

[Blake Books I, 99, see also 98, pp. 285 - 304 & Supplement 98, pp. 97 – 101; Keynes 210; Bentley & Nurmi 85; see Morton D. Paley's 'John Camden Hotten, A. C. Swinburne, and the Blake Facsimiles of 1868', Bulletin of the New York Public Library, Vol. 79, 1975 – 1976; see also Bodleian facsimile, 2011]. – £1,750

BOILVIN, Emile. (Flaubert, Gustave). Sept Eaux-Fortes pour Illustrer Madame Bovary ... Dessinées et Gravées par E. Boilvin. Paris. Alphonse Lemerre. 1883.

16mo. (202 × 146 mm). Etched title and six etched plates by Boilvin after his original drawings. Loose as issued in publisher's clothbacked printed board portfolio with titles and publisher's vignette to front board. ¶ The separate suite of Boilvin's etchings for Flaubert's Madame Bovary. Emile Boilvin's etchings were produced as illustrations for Flaubert's first novel, Madame Bovary. First published in two volumes 1857 by Michel Lévy Frères, Boilvin's etchings were produced in 1876 to add to the edition issued by Lemerre in 1874; the series presented here were issued later, in 1883. – £250

BROODTHAERS, Marcel. Pauvre Belgique. Brussels. Daled, Gevaert & Lebeer. 1974.

Small folio. (325 × 250 mm). [76 leaves]. Original publisher's white printed wrappers with titles in black to front and rear covers, Broodthaers' copyright to inner rear wrapper, additional semi-opaque glassine jacket with printed titles 'ABCABCABCABCA' masking the title 'PAUVRE BELGIQUE' of the wrappers. ¶ An excellent copy of Marcel Broodthaers' scarce gnomic artist book based on Charles Baudelaire's criticism of Belgium. From the edition limited to 44 copies on papier d'épreuve, with this one of 40 numbered examples, signed and dated 'Bruxelles, le 26 Septembre 74. M. B.' and numbered by Broodthaers in black ink; four lettered copies were also issued. In this artist book, like others in Broodthaers' oeuvre – Dumas' 'Vingt Ans Après' or the words of Mallarmé for 'Un Coup de Dès N'abolira Jamais le Hasard' –Broodthaers'

concern is with and of a found text. Charles Baudelaire's highly critical 'Pauvre Belgique' was begun in June 1864 but was never published during his lifetime (extracts were issued in 1887 in 'Le Progrès') and did not appear until 1952. Scathing in regard to Belgium, its people, their habits and outlook, Baudelaire's text has been assumed to reflect more on his own state of mind and misery than on Belgium itself but it certainly appears that Broodthaers' choice of text indicates a certain seriousness in his own attitude to it.

[Jamar 42; Werner 19; Ceuleers 43; see Artists Who Make Books pp. 51 – 52]. – £22,500

BURY, T[homas]. T[albot]. Coloured Views on the Liverpool and Manchester Railway, with Plates of the Coaches, Machines, &c. From Drawings Made Upon the Spot ... With Descriptive Particulars, Serving as a Guide to Travellers on the Railway. London. Published by R. Ackermann &c. 1831.

Small folio. (356 × 288 mm). Leaf with title, four leaves with text 'The Liverpool and Manchester Railway' and 15 engraved plates each with additional colour by hand, thirteen after Bury numbered 1 – 13 in Arabic numerals at upper right and the two final folding plates numbered in Roman numerals at upper right; all plates dated '1831'; some small areas of damp-staining to the front pastedown and front free endpaper and still visible on the title and first leaf of text but crisp and clean thereafter. Contemporary burgundy roan-backed marbled paper-covered boards, title 'RAILWAY' in gilt with decorative gilt tools to spine, small splits at foot. ¶ The first issue of Bury's beautifully illustrated work on the first inter-city railway with the two additional folding colour plates.

The Liverpool and Manchester Railway, the first inter-city railway line in the world, was opened officially on Spetember 15th, 1830. Commencing at the yard of the Liverpool and Manchester Railway Company at Wapping in Liverpool, the railway proceeds via a cutting into a tunnel under Crown Street and exits at Edgehill. It proceeds over 31 miles via Huyton, the Whiston plane, Rainhill Level, Parr Moss, the nine arch viaduct over the Sankey valley and canal, the four arch viaduct over the

Newton valley to Parkside, Chat Moss, Barton, Eccles and Salford, over the Irwell to the final station in Water Street, Manchester; as per the text: ‘The total number of bridges on the line is 63.’ The famous plates include 'The Tunnel'; 'Excavation of Olive Mount, 4 Miles from Liverpool'; 'Viaduct of the Sankey Valley'; and so on. The two additional folding plates ('Travelling on the Liverpooland Manchester Railway') and plate 7 ('Coaches &c. employed on the Railway') depict actual trains, carriages and passengers (including cattle).

‘This classic record of the beginnings of the railway age was also one of the last significant books illustrated with aquatints.’(Ray).

'Copies occur with 2 extra folding coloured aquatint plates by I. Shaw, engraved by S. G. Hughes viz. 'A Train of First and Second Class Carriages with the Mail' and 'Train of Waggons with Goods, Cattle &c.'.' (Tooley).

[Tooley 120; Prideaux 329; see Ray 45; see Abbey Life 400 for the later issue]. – £4,000

CHAGALL, Marc. Gogol, Nicolas. Les Ames Mortes. Eaux-Fortes Originales de Marc Chagall. Paris. Tériade Editeur. 1948.

2 vols. Folio. (388 × 286 mm). Loose as issued in original publisher’s printed wrappers with titles in black to front covers, chemises with labels to spines, without slipcase. ¶ Marc Chagall’s masterful illustrations for Gogol’s ‘Dead Souls’. From the edition limited to 370 numbered copies signed by Chagall, with this one of 50 from the édition de tête, however this example is without the extra suite printed on Japon Nacré. The 96 prints for Gogol’s masterpiece were executed between 1927 and 1930 for Vollard but Tériade was the first to publish them. [Cramer 17]. – SOLD (CUNARD, NANCY & LOUIS ARAGON). CLOUD, Y[VONNE]. (Pseud. Nancy Cunard & Louis Aragon). A Note on the Affair of the Surrealist Film L'Age D'or. (London?). (Hours Press?). (1931). 4to. (254 × 202 mm). [Single bifolium: two leaves]. Loose as issued. ¶ An excellent example of this very scarce English Surrealist tract on Buñuel and Dalì's film ‘L'Age d'Or’ likely writ-

ten by Nancy Cunard and Louis Aragon and printed at Cunard's own Hours Press. This scarce English-language tract, likely printed shortly before the first showing of ‘L'Age d'Or’ in England in January 1931, opens with ‘Exposition of the Facts’, which details the initial reception of the film in France, analyses the scandal it caused and outlines the resulting outcry, political and religious, and its final effects. The second, untitled section of the tract assesses the film itself, quotes from ‘Le Figaro’ and refers in detail to its content and delineates its meaning. Written under a pseudonym, ‘Y. Cloud’ (the 1937 book ‘The Basque Children in England: An Account of their Life at North Stoneham Camp’ has the same pseudonymous author), it is thought that it was the work of Nancy Cunard and Louis Aragon.

[see José Pierre's 'Tracts surréalistes et déclarations collectives &c.' I, pg. 449; see Anne Chisholm's 'Nancy Cunard', London, 1979] – SOLD

DERAIN, André. Nasier, Alcofrybas (Pseud. of François Rabelais). Pantagruel. Les Horribles et Espouvantables Faictz et Prouesses du Très Renommé Pantagruel, Roy des Dipsodes, Fils du Grand Géant Gargantua. Paris. Albert Skira. 1943.

Folio. (348 × 284 mm). pp. 187, (ii), (i), (i). Loose as issued in original publisher's wrappers with label to front cover, original parchment-backed chemise with label to spine and slipcase. ¶ André Derain's superb woodcuts – the only colour illustrations he made for a book – for François Rabelais' ‘Pantagruel’. From the edition limited to 275 numbered copies, with this one of 200 ordinary examples on vélin d'Arches signed by Derain.

André Derain's only book illustrations printed in colour and an outstanding example of the unusual process of polychrome printing from single blocks. Roger Lacourière, usually an intaglio printer, was so intrigued by the proposed process for Derain's illustrations that he collaborated with Derain in their production. The printing took two years in the special studio that Lacourière had established. ‘Commissioned by the publisher Albert Skira

in 1941, Derain worked for 3 years to produce the illustrations, co-operating with Lacourière and developing a novel printing process whereby the wooden blocks were inked in several colours simultaneously rather than the usual method of a separate block for each colour.’ (From Manet to Hockney).

[From Manet to Hockney 111; The Artist and the Book 81; Logan 194] – £9,500

DOESBURG & Kurt Schwitters. kleine dada soirée. (The Hague). (1922/1923).

Lithograph in red with additional printing in black recto only on thin newsprint paper, the full sheet, never folded; sheet size: 300 × 300 mm. ¶ An excellent example, never folded, of the first issue of the iconic ‘kleine dada soirée’ poster. This programme / poster by Théo van Doesburg and Kurt Schwitters details the events for the travelling show they had devised towards the end of 1922. Their proposed tour of Holland was to start in The Hague in December 1922 but had to be postponed due to problems with Schwitters’ passport. On January 10th, 1923, Schwitters and van Doesburg appeared at the Haagsche Kunstkring (the details are at the upper right of the poster together with the address ‘Binnenhof 8’) and the performance featured van Doesburg’s ‘dadasofie’, ‘ragtime-dada’ by Erik Satie and Schwitters’ sound poetry. The chaotic typography of the poster, in typical dada style, features random capitalisations, variations in typography, the text at variable and peculiar angles, manicules, small vignettes, a quotation from Tristan Tzara etc., all against a background with ‘dada’ printed in red.

[see ‘Dada in the Collection of the Museum of Modern Art’, New York, 2008, pp. 102 – 105; see Ades pp. 125 – 126 which describes the series of ‘kleine dada soirée’ performances (but without naming them) in Schwitters’ words]. – £25,000

DOVES PRESS. Emerson, Ralph Waldo. Essays. With Preface by Thomas Carlyle. Hammersmith. The Doves Press. 1906.

8vo. (235 × 170 mm). [164 leaves including blanks; pp. 311, (i)]. Original publisher’s limp vellum with stamped signature to rear paste-

down: ‘the doves bindery ’, paper endpapers and pastedowns, title gilt to spine. ¶ A fine copy on vellum of Emerson’s Essays, the only American text printed at the Doves Press. From the edition limited to 325 copies, with this one of 25 on vellum. ‘Cobden-Sanderson had actually met Emerson once when Emerson was visiting London in the 1860s. In a presentation copy of the Doves edition of the Essays, Cobden-Sanderson wrote that they were printed in memory of a conversation he had had with Emerson as they walked together down Pall Mall. Cobden-Sanderson was attracted to Emerson’s idealism, and to the hint of mysticism that coloured his view of nature. In Cobden-Sanderson’s mind Emerson was ‘a pinnacle of a man’. The Essays, issued in June 1906, were printed from the first English edition, with a preface by Carlyle. It was the first Doves Press book in which Miller and Richard’s Old Style italic was used...’ (Tidcombe). [Tidcombe DP8; see Ransom, Doves 9]. – £15,000

DOVES PRESS. Goethe, J. W. von. Torquato Tasso. Ein Schauspiel von Goethe. Hammersmith. Doves Press. 1913.

8vo. (236 × 172 mm). [92 leaves including blanks; pp. 163, (i)]. Original pumpkin morocco by Cobden-Sanderson at the Doves Bindery with gilt signature to rear pastedown as usual, boards with gilt border to surround smaller gilt tooled rectangles, banded spine ruled in gilt with gilt title in six compartments, turn-ins ruled in gilt, a.e.g., later matching morocco-edged cloth slipcase. ¶ The Doves Press edition of Goethe’s ‘Torquato Tasso’ on vellum with gilt initials supplied by Graily Hewitt. From the edition limited to 227 copies, with this one of 12 on vellum with gilt initials by Graily Hewitt; 15 additional copies were printed on vellum with printed initials as well as the 200 on paper. Goethe’s verse drama ‘Torquato Tasso’ (written during the 1780s and completed in 1790) takes as its subject the final descent into madness of Tasso (1540 – 1595), author of the epic poem ‘La Gerusalemme Liberata’ (first published in 1581). The Doves binding for the present copy, signed as usual to the rear turn-in by Cobden-Sanderson ‘The Doves Bindery / 19 C-S 13’, has been restored: the

hinges have been reinforced and the spine repaired, particularly at the head and foot. [Tidcombe DP31; Tomkinson 34]. – £12,500

DOVES PRESS. Keats, John. Keats. (Poems). Hammersmith. Doves Press. 1914.

Large 8vo. (234 × 168 mm). [102 leaves; pp. 203]. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title ‘KEATS / 1815 –1820’ and dated ‘MCMXIV’ in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. ¶ A very scarce copy of the vellum issue of the Doves Press’ Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the ‘most skillful pupil we ever had ... equal to any professional’, Frieda Thiersch (1889–1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. [Tidcombe DP36; Tomkinson 58, 45]. – £50,000

DUCHAMP, Marcel & André Breton. First Papers of Surrealism. New York. Coordinating Council of French Relief Societies, Inc. 1942.

Small folio. (266 × 184 mm). [26 unnumbered leaves]. Original publisher’s yellow printed perforated glossy wrappers by Marcel Duchamp, stapled as issued. ¶ An excellent copy of the seminal 1942 ‘Surrealism-in-Exile’ exhibition catalogue. Curated by André Breton and featuring – among many other exhibits – Duchamp’s installation of twine (‘Sixteen

13. 14. 15.

Miles of String’), ‘First Papers of Surrealism’ was held in 1942 from October 14th to 7th November at the Whitelaw Reid Mansion in Madison Avenue to benefit France. The first major exhibition of Surrealism in America, ‘First Papers of Surrealism’ – as an exhibition and catalogue it followed closely previous Surrealist exhibitions and catalogues – included precursors, Surrealists who had fled the war in Europe as well as allusion to those who remained (‘Circumstances make it impossible for us to represent properly or by their most recent works, a number of artists ... Rather than give an insufficient idea of them, we have with regret omitted surrealist objects from this catalogue ... ‘); where examples of artists’ work are included, found photographs depicting others are displayed in place of portraits of the artists or writers themselves. [see Schwarz Revised 487; Schwarz 313; Lebel 180]. – £1,750

Epistolae et Evangelia Ad Usum Congregationis Sancti Mauri Ordinis Sancti Benedicti, Necnon Eorum Omnium Qui Missali Romano Utuntur. Paris. Typ. Lud. Annae Sevestre ... Cum Privilegio Regis. 1708.

Folio. (380 × 250 mm). pp. (iv), 328, lxii, (v). Full contemporary red morocco à la dentelle surrounding central vignette of St. Peter (front board) or St. Paul (rear), borders with lyre and other evangelical tools, Saints Peter and Paul at alternating corners, banded spine with green morocco label with gilt title and elaborate decorative tooling in gilt in seven compartments, turn-ins with floral roll tool borders, board edges ruled in gilt, green and cream silk placemarkers, marbled endpapers, a.e.g., later burgundy calf-backed marbled board box with gilt titles to spine. ¶ A splendid French edition of the ‘Epistolae et Evangelia’ in a beautiful contemporary binding of red morocco à la dentelle likely by Padeloup. This magnificent French edition of the ‘Epistolae et Evangelia’, readings from the Epistles and Gospels designated for specific Sundays and holy days throughout the liturgical year, was printed for the use of the Congregation of Saint Maur. This copy in a beautiful binding – likely by Antoine-Michel Padeloup le Jeune – was bound for Henry

Arundell, 8th Baron Arundell of Wardour (1740–1808). Arundell, an avid collector in all fields and a leading English Catholic peer, commissioned a number of bindings in Paris for service books for use in his All Saints’ Chapel at New Wardour Castle in Wiltshire. The castle was designed by James Paine and includes additions by the Imperial Russian architect Giacomo Quarenghi; All Saints’ Chapel was reworked and enlarged by Sir John Soane in the 1780s. – £12,500

ERAGNY PRESS. Ronsard, Pierre de. Abregé de l’ art poétique françois. The Brook, Hammersmith. Eragny Press. 1903.

8vo. (214 × 146 mm). [22 leaves; pp. 44]. Full polished calf by Sangorski & Sutcliffe (see below), boards with elaborate gilt and colour floral and foliate tools at corners, boards with elaborate gilt rules, gilt title to upper section of front board, banded spine ruled in gilt and with gilt title in six compartments, turn-insruled in gilt, handmade patterned paper pastedowns and endpapers, a.e.g., later brown morocco-edged cloth board slipcase. ¶ The Eragny Press edition of Ronsard’s ‘Abregé de l’Art Poétique François’. From the edition limited to 226 copies, all on paper. Although the binding for the present copy is unsigned, a pencil note attributes it to Sangorski & Sutcliffe. With a presentation inscription in blue ink to initial blank: ‘M. Dodderidge / from B. G. Palmer / 1952, Milan. [Genz EP15]. – £2,250

19.

ERAGNY PRESS. Browning, Robert. Some Poems by Robert Browning. The Brook, Hammersmith. Eragny Press. 1904.

8vo. (210 × 138 mm). [35 leaves including frontis. on inserted leaf; pp. 64, (i), (i), (i)]. Full dark chocolate crushed morocco by Zaehnsdorf with signature gilt and dated 1905, boards ruled in gilt to surround a wide inset border of green morocco with gilt and red floral and gilt foliate tools, banded spine in six compartments with inlaid sections of green morocco and gilt and red floral tools and gilt title, turn-ins with gilt decorative border with foliate decor, thick green doublures and endpapers, board edges ruled in gilt, original

16.

17.

18.

blue paper-backed decorative ‘Wild Rose’ printed paper boards with gilt title preserved, a.e.g., later brown cloth box with gilt title to spine. ¶ The Eragny Press edition of Browning in a beautiful binding by Zaehnsdorf. From the edition limited to 209 copies, with this one of 200 on paper. This copy with an inscription in sepia ink (badly faded and only partially legible) beneath the frontispiece: ‘I bought this for myself ... M. M. ... 1905’. This beautiful edition caused the Pissarros much trouble: with the paper, printing, bindings and finally, with sales. Lane, selling the edition in America, thought it expensive but there, at least, it did well and he took 50 copies.

[Genz EP20].

– £2,750

ERAGNY PRESS. (Jonson, Ben). Songs by Ben Jonson. A Selection from the Plays, Masques, and Poems, with the Settings of Certain Numbers. The Brook, Hammersmith, London. The Eragny Press. 1906.

8vo. (208 × 136 mm). [41 leaves including blanks; pp. 59, (iii)]. Full burgundy morocco by Blackwell with their discreet stamp to front free endpaper verso, banded spine with title gilt in six compartments, turn-ins ruled in gilt with gilt decorative floral corner-pieces, matching burgundy morocco-edged scarlet cloth slipcase. ¶ The dedication copy of the Eragny ‘Songs by Ben Jonson’ on vellum. From the edition limited to 185 copies, with this, the dedication copy, one of ten printed on vellum; with a presentation in black ink from the Pissarros to the dedicatee J. M. Andreini: ‘From Esther Pissarro & / Lucien Pissarro / to / J[oseph]. M[anuel]. Andreini’. A beautiful Eragny book, Emery Walker described the book to Esther Pissarro as ‘a beautiful specimen’ and in reference, in particular, to the music: ‘ ... I think it is the prettiest specimen of modern music typography I have seen’.

[Provenance : Presentation from the Pissarro’s to Joseph Manuel Andreini (the dedicatee), with his bookplate pasted to front free endpaper verso; bookplate of Norman J. Sondheim to front pastedown].

[Genz EP26; Ransom 25; Tomkinson 26]. – £25,000

(ERAGNY PRESS). Pissarro, Camille. Moselly, Emile. La Charrue d'Erable. Paris. Le Livre Contemporain / Eragny Press. 1912.

8vo. (217 × 152 mm). [74 leaves: 4 blank leaves, 66 leaves with text and illustration, 4 blank leaves; pp. 105, (iii)]. Original publisher's limp apple calf, gilt title and gilt apple vignette to upper right of front cover, limp pinkish calf doublures with elaborate decorative scheme of gilt rules surrounding a field of matching gilt apple tools, suite loose in paper wrapper, later green paper-lined black morocco box by Alain Lobstein with his signature gilt, boards and spine with decorative foliate tools, title gilt to spine. ¶ One of the finest Eragny productions - Pissarro's second commission and, all in all, his finest book - a superb copy in the original limp apple calf and with the additional signed suite on Chine. From the edition limited to 116 copies, this copy printed for M. L. Comar; the separate suite of the 43 plates and and head- and tail-pieces, loose in a paper wrapper, is on Chine and each is initialled and numbered by Lucien Pissarro in pencil. The binding for the present copy is in an excellent state of preservation although the paper endpapers are toned as usual from contact with the light pink doublures. [Genz EP31; Tomkinson Eragny 31; Ashmolean 47; The Artist and the Book 247]. – £25,000

ERNST, Max. Eluard, Paul. Les Malheurs des Immortels révélés par Paul Eluard et Max Ernst. Paris. Librarie Six. 1922.

4to. (250 × 190 mm). [22 leaves; pp. 43, (i)]. Original publisher’s printed wrappers with titles to front cover in black. ¶ Iliazd’s presentation copy – with a double presentation from both Max Ernst and Paul Eluard – of the first edition of the seminal collaboration marking the boundary between dada and Surrealism. From the small edition of unknown size on simili-japon with a presentation in black ink in both the hands of Max Ernst and Paul Eluard to the half-title: ‘à / Ilja Zdanévitch / Les malheurs des immortels [printed half-title] / avant et après que je l’ai / connu / Max Ernst / 27. déc. 23 / Paul Eluard / dans la 29e année / de sa vie’.

Iliazd (Ilia Zdanevich or, as here, Ilja Zdanévitch, 1894–1975) was a Georgian-born avant-garde Russian Futurist poet and after he emigrated to France in 1921, a publisher, a typographer and the impresario for arguably the most beautiful books made in the twentieth century. After his arrival in Paris, Iliazd moved in determinedly avant-garde circles, participating in, while maintaining a distance from, dada events, publications and manifestations. The presentation from Ernst and Eluard, ‘Les Malheurs des Immortels’ was their second collaboration after ‘Répétitions’ published earlier in the year, is particularly moving as all remained friends throughout all of their lives. Iliazd published his book ‘Un Soupçon’ with verse by Eluard in homage to his deceased friend the poet and with Max Ernst, he made his masterpiece and magnum opus, ‘(65) Maximiliana ou l’Exercise Illégal de l’Astronomie’. This first edition of 1922 – which was issued in very small numbers – of ‘Les Malheurs des Immortels’ matches Paul Eluard’s prose poems with Max Ernst’s ‘synthetic’ collages. [see ‘De Parallèlement à Chanson Complète’, pp. 167 –174]. – £8,500

ERNST, Max. Rêve d'une Petite Fille Qui Voulut Entrer au Carmel. Paris. Editions du Carrefour. 1930.

4to. (238 × 188 mm). [88 unnumbered leaves]. Original publisher's turquoise printed wrappers with text and vignette to front cover and titles to spine in black. ¶ Max Ernst's second collage novel ‘Rêve d'une Petite Fille Qui Voulut Entrer au Carmel’, a very good copy in the original turquoise wrappers. From the edition limited to 1,063 numbered copies, with this one of 1,000 copies on vélin teinté. ‘Rêve d'une Fille Qui Voulut Entrer au Carmel’ is the second of Max Ernst's trilogy of Surrealist books with illustrations after his collages, the first was ‘La Femme 100 Têtes’ (1929) and the third, ‘Une Semaine de Bonté’ (1934). – £4,500

FINLAY, Ian Hamilton. Ocean Stripe Series 3. Edinburgh. Wild Hawthorn Press. 1965.

Large 8vo. (205 × 130 mm). (7 leaves: iii). 7 leaves, followed by 3 leaves of red, yellow and blue

tissue. A mimeographed leaf of text from Genesis is inserted loose. Original publisher's white stapled wrappers with titles printed in black to dust jacket. ¶ A very good copy of the rarest volume in Ian Hamilton Finlay's ‘Ocean Stripe Series’ and his first kinetic poem-booklet. The kinetic booklets in the ‘Ocean and Canal Stripe Series’ were an innovation of Finlay's at the Wild Hawthorn Press, and an important contribution to concrete poetry and the artist book.

[Moeglin-Delcroix - Esthétique du livre d’artiste. pp. 60, 66, 373; Yves Abrioux - Ian Hamilton Finlay. A visual primer, p. 19 (illus.)]. – £1,250

GILBERT & GEORGE. ‘Oh, the Grand Old Duke of York’. Lucerne. Kunstmuseum Luzern. 1972.

Small folio. Illustrated with thirty-five monochrome photographs, each with the subtitle 'No UP, No DOWN', printed at the right-hand page edge to form a flipbook depicting Gilbert and George walking down a flight of steps. Original publisher's white printed wrappers. ¶ Gilbert and George's artist flipbook. The work depicts the artists descending a flight of steps, and, when reversed, the artists walking backwards up the same flight of steps. – £350

GILBERT & GEORGE . The 8 Limericks of Gilbert & George the Sculptors. London. Art for All. 1971, April.

8vo. (205 × 138 mm). [8 leaves]. Each leaf with printed letterpress text, a limerick in four two-line stanzas in italics, each numbered 1 to 8 at foot at centre; sheet size: 192 × 127 mm. Loose as issued in original publisher’s white paper printed wrappers, printed titles in black and artists’ signatures in red to front cover, justification to rear. ¶ The very rare separate collected printing of the verse of all eight of Gilbert & George’s ‘The Limericks’. From the edition limited to 25 numbered copies, signed by Gilbert and George in red ink to front cover and numbered in black ink to rear.

‘The Limericks’, one of the early ‘postal sculptures’ of Gilbert and George, was issued by mail at intervals in 1971 (the franking of sets reveals they were mailed between April and October) although the cards themselves

are dated between March 11th and May 19th, 1971. Each discrete part of the ‘postal sculpture’ consisted of a folded card of cream or white card with a title, the individual date, a monochrome image and the ‘Art for All’ imprint to the cover, a printed dedication to the verso (personalised for each dedicatee) and the following recto with a limerick in four twoline stanzas above the artists’ signatures, arms and the text ‘Goodbye for now’. This separate printing, issued likely during – possibly even before – the mailing of the ‘postal sculpture’ (it is dated ‘April 1971’ on the cover), features each of the limericks themselves in the same format on individual sheets of smooth white stock and numbered at foot at centre 1 to 8. [see ‘Gilbert & George’s Art Titles 1969 – 2010 in Chronological Order’ pg. 5, LE (Limited Edition); see ‘The Words of Gilbert & George’ pp. 32 – 34 & 305].

– £5,500

HASELER, Henry et al. Picturesque Views on the River Exe. Tiverton. Printed for J. Chaplin by T. Parkhouse. 1819.

Small folio. (298 × 236 mm). [24 leaves; pp. (1), 32]. Original green roan-backed paste-paper boards, black morocco label with gilt title ('Picturesque Views / ON THE / River Exe.') within gilt ruled and tooled borders. ¶ A scarce example of this bucolic pictorial tour of the River Exe. As per a pencil note to the front pastedown, ‘Picturesque Views on the River Exe’ is ‘Beautiful & Rare’ and uncommon on the market. Published anonymously, although the imprint details that it was printed for Jonathan Chaplin and the plates add the additional names of Henry Haseler and Thomas Clay, the work details the history of the towns and villages of the Exe in prose and the scenery of the river in illustration. The caption of the final plate ‘Seaford Bridge, on the Exe’ has been corrected in pencil - this may indicate an early issue - with the ‘Sea’ crossed through and ‘Oak’ added in pencil; the same hand has added an exclamation mark after the printed text: ‘The bridge, though extremely dangerous!’. This supposition of an early issue is born out by Abbey Scenery 117 which gives the corrected title, i.e. ‘Oakford Bridge ... &c.’ and gives the watermarks of the text as ‘R TURNER & SON /

1816’ (as for this copy) but for the plates gives ‘J WHATMAN / TURKEY MILL / 1821’; the Whatman watermark for the present copy is dated ‘1819’.

[Abbey Scenery 117]. – £950

HAWKSMOOR, Nicholas, Colen Campbell & John James. The Plan and Estimate of Finishing Queen Anns North Pavilion Anno Dom. 1728 – 9. (London). 1728 / 1729.

Folio. (390 × 275 mm]. [12 leaves: 7 single sheets, 5 bifolia]. Later full vellum with title gilt to front board 'QUEEN ANNE'S BUILDING / GREENWICH HOSPITAL / 1729'.

¶ An exceptional discrete collection, and a remarkable survival from the early eighteenthcentury, of groundplans, elevations and documents, the proposal by Hawksmoor, Campbell and James for Queen Anne's North Pavilion at Greenwich. The proposal incorporates groundplans and elevations and two documents, the description of the proposed works and their costs, each signed by Nicholas Hawksmoor as Assistant Surveyor and Clerk of Works (a position he had held since 1698), Colen Campbell as Surveyor and John James as Assistant Clerk of Works.

Hawksmoor published his ‘Remarks on the Founding and Carrying On the Building of the Royal Hospital at Greenwich’ in 1728 and these proposals date from the same period, a time when a new commission had been proposed for finishing the hospital. In that work – and the parallels are evident – Hawksmoor expressed his ‘desire for the works to be continued on the monumental scale that he has proposed in the past’ (see RIBA 1479). It seems appropriate to consider the present drawings and documents in that light. A full description is available on request. [see Downes, Hawksmoor, 1959: identified in 'drawings for particular executed buildings' as '372 (Patrick McNeil Esq.) volume of drawings and estimates for finishing Queen Anne Block']. – £35,000

HOCKNEY, David. David Hockney Will Come. (Unique Drawings, Proofs and Screenprints). (Newcastle). (1965).

Folio. (Various sizes). [6 leaves]. ¶ A unique collection of material by David Hockney comprising original drawings, screenprint proofs and posters for a work to promote his own lecture at Newcastle University in 1965.

‘Back in England Hockney and I became friends and I got him to come up to Newcastle to give a talk on his work, for which he made a little drawing of a palm tree which I printed as a poster.’ (Mark Lancaster).

David Hockney's friend Mark Lancaster, at the time an art student at Newcastle, invited Hockney to give an informal talk about his practice. Richard Hamilton, then teaching at Newcastle, had organised screenprinting equipment for the art department and Hockney and Lancaster collaborated to produce a screenprint to promote the talk. For the lecture poster, Hockney made two drawings in black ink (both present here), the first with a palm tree, the second with the text, clouds and a partial sun. The finished screenprint combines both drawings but the second drawing – it becomes the background of the finished screenprint – with text was printed in red. The motif of the palm tree which takes centre stage in the work was used extensively by Hockney in his paintings and prints. First seen in his series ‘The Rake’s Progress’ (1961 – 63) which is also noteable for his use of red and black as here, and the prints ‘The Marriage’ (1962), ‘Jungle Boy’ (1964) and ‘Pacific Mutual Life’ (1964); Hockney's painting ‘The Great Pyramid at Giza with broken head from Thebes’ (1963) used to illustrate the cover of the announcement / catalogue of his first solo painting exhibition ‘Pictures with People in’ also features a palm tree.

The present collection comprises: (1): Original drawing in black ink with palm within frame; (sheet size 780 × 510 mm). (2): Original drawing in black ink with clouds, sun and text 'David Hockney Will Come'; (sheet size: 780 × 510 mm). (3): Proof in red of the second screen (i.e. with clouds, sun and without text); (sheet size: 570 × 448 mm). (4): Proof in red of the second screen (i.e. with clouds and sun and with text 'David Hockney Will Come'; (sheet size: 780 × 510 mm). (5): Final version of screenprint poster with text; (sheet size: 572

× 446 mm). (6): Final version of screenprint poster with signed presentation: ‘for Mark from David H. XXX’; (sheet size: 572 × 446 mm).

– £47,500

HOCKNEY, David. David Hockney. Pictures with frames and still life pictures. [Exhibition invitation]. London. Kasmin Limited. 1965.

Folded card with die-cut section (210 × 148 mm). Printed in black and gold, reproducing 'Picture of Hollywood Swimming Pool' (1964). ¶ Playful invitation card to an early Hockney exhibition at Kasmin Gallery London. A charming piece of David Hockney ephemera. – £250

HOCKNEY. Best wishes from the Directors of Kasmin Gallery. [Christmas card]. London / 118 New Bond Street. Kasmin Gallery. (1963).

Single sheet of card, (210 × 148 mm). Illustration printed in monochrome with detailing in red; text printed below in red. ¶ A very rare Kasmin Gallery Christmas card reproducing a David Hockney drawing of holly. – £200

HOGARTH, William & Jane et al. Copyright Acts. An Act for the Encouragement of the Arts of Designing, Engraving and Etching historical and other Prints, by vesting the Properties thereof in the Inventors and Engravers, during the Time therein mentioned [&:] An Act to amend and render more effectual an Act ... for vesting in, and securing to, Jane Hogarth Widow, the Property in certain Prints. London. Printed by John Baskett; Printed by Mark Baskett ... and by the Assigns of Robert Baskett 1735; 1767.

Small folio. (c.302 × 190 mm). [3 leaves + 3 leaves; pp. (i), 503 - 506; (i), 215 – 218]. Titles with the Royal arms to each and printed text largely in black letter with sections in Roman type and marginal commentary Disbound. ¶ The Engraving Copyright Act or Hogarth's Act of 1734 together with 30. 31. 32.

its successor Act granting Hogarth's post mortem rights to his widow Jane Hogarth.

Although William Hogarth is not named explicitly in the 1734 Engraving Copyright Act (enacted June 25th 1735), it has come to bear his name due to his efforts and those of the group of artists around him who pushed for it. The Statute of Anne (the Copyright Act 1710) gave protection of a limited nature to book production (and reproduction) but none to the reproduction of original works by artists. In the words of Paulson: ‘He [Hogarth] starts by exchanging aristocratic patronage for a large audience of print-buyers; but then finds himself pitted against the print sellers, who would absorb his profits. He circumvents these merchants by becoming his own distributor - at length securing an Act of Parliament to protect the ownership of his product.’

The Act itself granted protection for a period of 14 years for original works by ‘every person who shall invent and design, engrave, etch, or work in Mezzotinto or Chiaro Oscuro’. An inherent irony of the Act – and one that led directly to the later 1764 Act in which Hogarth’s widow Jane is mentioned explicitly – is the specific mention of and protection for John Pine, one of the print sellers against whom Hogarth was lobbying, for his engraved series after the tapestries depicting the defeat of the Spanish Armada from the House of Lords. The 1764 Act, to 'amend and render more effectual' the previous version was also 'for vesting in, and securing to, Jane Hogarth Widow, the Property in certain Prints'. Again, as per Paulson: ‘In 1767, following her [Jane Hogarth’s] petition for aid against pirates who were taking away her livelihood, Parliament granted her a further exclusive term of twenty years copyright. This clause was added to the end of the amended Copyright Act for Engravers … ‘. Jane Hogarth's success is most remarkable given the fact that copyright was given to only a few specific women – the widows of particular men only – and not women in general until the nineteenth century. Hogarth made reference – at length, bathetically and with notable pride – to the 1734 Act and to those who had supported him in the

caption to his print ‘Crowns, Mitres, Maces, etc.’ from ‘Four Prints of An Election’: ‘In humble & grateful Acknowledgement of the Grace & Goodness of the Legislature, Manifested, In the Act of Parliament for the Encouragement of the Arts of Designing Engraving &c; Obtain’d by the Endeavours & almost at the Sole Expence of the designer of this Print in the Year 1735: By which not only the Professors of those Arts were rescued from the Tyranny Frauds & Piracies of Monopolising Dealers and Legally entitled to the Fruits of their own Labours, but Genius & Industry were also prompted by ye most noble & generous Inducements to exert themselves, Emulation was Excited, Ornamental Compositions were better understood, and every Manufacture where Fancy has any concern was gradually raised to a pitch of perfection before unknown, Insomuch that those of Great Britain are at present the most Elegant and the most in Esteem of any in Europe.’

[8 Geo. 2 cap. 13; 7 Geo. 3 cap. 38; see Paulson pp. 3,18 & 161]. –£1,750

[8 Geo. 2 cap. 13; 7 Geo. 3 cap. 38; see Paulson pp. 3,18 & 161].

IBELS, Toulouse-Lautrec, Vallotton, Hermann-Paul, Vuillard, Willette et al. Darien, Georges. (Dir.). L’Escarmouche. Journal Illustré Hebdomadaire. Première Année No. 1. (12 Novembre 1893). - Deuxième Année. No. 3. (16 Mars 1894). Paris. 1893 – 1894.

11 issues. Folio. (396 × 294 mm). [4 leaves per issue]. Each issue with title and cover illustration, printed text in French throughout and advertisements to rear cover and with 33 illustrations by Toulouse-Lautrec, Bonnard, Ibels, Willette, Vallotton, Hermann-Paul and others. Later burgundy cloth-backed marbled paper boards, original publisher’s printed illustrated wrappers preserved. ¶ An excellent, complete set of the very scarce fin-de-siècle illustrated revue ‘L’Escarmouche’ with additional important ephemera and original material (please contact us for details). Directed by Georges Darien, the writer, satirist and artist, the anarchist ‘L’Escarmouche’ was short-lived even by the standards of the day, appearing weekly for only three short months 33.

from November 1893 to January 1894 (a very rare final number, included here, was issued as an afterthought and without illustration apart from the cover by Ibels, in March 1894). Noted rather more for its illustration than any literary merit, ‘LEscarmouche’ featured covers by Henri-Gabriel Ibels (4), René Georges Hermann-Paul (5) and Félix Vallotton (1). ‘L’Escarmouche’ is one of the scarcest of the periodicals from the French fin-de-siècle and this exceptional set includes the final number - almost always missing from sets – issued two months after the penultimate number. [not in Ray].

– £8,500

JONES, Allen. Waitress: A Book by Allen Jones with restaurants photographed by Tim Street-Porter. A pictorial essay following one waitress through many restaurants. London. Matthews Miller Dunbar. 1972.

Square 4to. (350 × 325 mm). [58 unnumbered leaves]. Original green morocco-backed marbled boards by Giovanni Codina, Milan, red morocco label to front board with title, banded spine in five compartments with red morocco label with gilt title, original slipcase. ¶ An excellent presentation copy of Waitress. Published in three language editions, each of 125 copies, this copy is from the English edition, signed and numbered by the artist on the colophon; this copy signed by the photographer to the title: ‘Tim Street-Porter / Long live Boulestin!’ and with a dedication from the artist on the quotation leaf: ‘For Beris from Allen Jones. 75.’ The restaurant Boulestin (from Tim Street-Porter's presentation) is depicted in the second plate of the book. An additional colour lithograph by Allen Jones, ‘Menu’, is also included bound in before the justification –

porary French red morocco, boards with triple gilt rules, banded spine with gilt decoration and tooling with green morocco label with gilt title in eight compartments, turn-ins with roll tool border, board edges ruled in gilt, marbled endpapers, a.e.g. ¶ An outstanding example of the first edition of the published works of Inigo Jones in contemporary French red morocco. Essentially based on the Jones-Webb collection of architectural drawings purchased by Lord Burlington in the early 1720s, this book provides extensive coverage of Jones’s designs for the Banqueting House in Whitehall and various smaller projects. The work gives much space to the designs by Jones and Webb for Whitehall Palace as a whole (without acknowledging that they are in fact mainly by Webb) and adds to the drawings from this source four plates based on Palladio’s drawings for S. Giorgio in Venice (which Burlington had also acquired). There are, in addition, a large number of plates illustrating buildings designed by Lord Burlington himself, notably Chiswick House and the Westminster School dormitory. The whole forms a splendid record of Jones’s work and of Burlington’s reinterpretation of Palladio and Jones for his own time. The allegorical frontispiece by William Kent, frequently lacking, is present here. [Provenance : Discrete bookplate of Baron Alexis de Redé to front pastedown]. [Millard 34; Fowler 162]. – £18,500

KASMIN

GALLERY. (CARO, STELLA, LOUIS et al). Kasmin Gallery. (15 invitations). London. Kasmin Ltd. 1963 – 1972.

£4,500

JONES, Inigo. Kent, William. The Designs of Inigo Jones, Consisting of Plans and Elevations for Public and Private Buildings. With Some Additional Designs. London. Published by William Kent. 1727.

2 vols in 1. Folio. (505 × 390 mm). Contem-

8vo. (210 × 146 mm). Illustrated in monochrome and colour; text printed in a variety of colours. ¶ An extensive collection of Kasmin Gallery invitations. The present collection provides valuable insight into the activities of Kasmin Gallery between 1963–1972. The exhibition of Morris Louis (1963) was Kasmin's second show, and he had particular regard for this artist. Also included in the collection are two invitations / catalogues for shows of Indian paintings (17–19th century), prepared with the assistance of Howard Hodgkin. – £450

KASMIN GALLERY. 118 show. [Invitation card]. London / 118 New Bond Street. Kasmin Gallery. 1965.

Single sheet of card. (210 × 148 mm). Text in black with red printed lines. ¶ An extremely scarce and notorious Kasmin Gallery exhibition invitation. This purely typographic invitation – conceived by Kasmin himself in collaboration with graphic designer Gordon House – caused considerable controversy among the art dealers whose names had been crossed out on the invitation (namely, every gallery other than Kasmin's). The list of names together with the artists listed in the exhibition make this an important record of the London art scene in the 1960s.

Those dealers and museums comprise: AIA, Book Street, Crane Kalman, Drian, Gimpel Fils, Grabowski, Grosvenor, Hamilton, Hanover, ICA, Lefevre, Leicester, Malborough Fine Art, Malborough New London, McRoberts & Tunnard, Mercury, Molton, New Art Centre, O'Hana, Piccadilly, Portal, Redfern, Robert Fraser, Roland Browse & Delbanco, Rowan, Tate, Tooth's, USIS, Waddington and Whitechapel.

The ‘118 show’ (named after the gallery's premises on 118 New Bond St) exhibited 'Paintings/Shapes/Sculpture/Drawings/ Etchings/Lithographs/Serigraphs/Sounds' by Ayres, Avedisian, W. Darby Bannard, Caro, Castellani, Chamberlain, B Cohen, Denny, Dzubas, Feeley, Frankenthaler, Gottlieb, Hockney, House, Howlin, Kelly, Latham, Louis, Newman, Noland, Olitski, Parker, R Smith, Stadler, Stella, Tippet and Zox. – £250

KASMIN GALLERY. HOCKNEY, David, MORRIS LOUIS et al. Kasmin is Open. London. Kasmin Gallery. 1973.

Leporello (170 x 115 mm, folded) with punched hole tab at top.  Monochrome image to cover plus thirteen colour images printed recto only reproducing works by Darby Bannard, Buckley, Caro, Davis, Hockney, Hodgkin, Louis, Noland, Olitski, Poons, Smith, Stella and a South Indian 18th century tapestry. ¶ Iconic piece of Kasmin Gallery ephemera, published on the occasion of the gallery's

move to 10 Clifford Street (1973). The cover shows a monochrome image of John Kasmin (Kas) with his friend Sheridan Dufferin, the 'well-off young lord' whose financial help Kasmin enlisted in starting his gallery. – £450

KEATS, J. Endymion: A Poetic Romance. London. Printed for Taylor and Hessey. 1818.

8vo. (224 × 150 mm). pp. ix, (i), 207. Full green crushed morocco by Rivière & Son with their signature gilt, boards with triple gilt ruled borders, banded spine with gilt decoration, floral tools and gilt title in 6 compartments, turn-ins with elaborate decorative borders, board edges ruled in gilt, marbled pastedowns and endpapers, later matching green morocco-edged cloth board slipcase. ¶ The first edition of Keats’ ‘Endymion’. ‘Endymion’ was John Keats’ second book, dedicated to Thomas Chatterton, who like Keats and Shelley and Byron, epitomised the Romantic ideal with their precocious talents and tragic early deaths. ‘Endymion’ was received badly by contemporary reviewers and it has been argued that it contributed to Keats’ death from tuberculosis. Indeed, the reviews for ‘Endymion’ caused Byron to write: ‘Tis strange the mind, that very fiery particle / Should let itself be snuffed out by an article’. (Don Juan, Canto 2, Stanze 60). Shelley defended Keats also, attributing Keats’ early death directly to the reception of ‘Endymion’, in his introduction to ‘Adonais’, published in the year of Keats’ death, 1821. This tall copy with many sheets retaining deckle edges at foot is from the second issue with the printer’s credit reading ‘T. Miller, Printer, Noble street, Cheapside’ and with the five-line errata. [MacGillivray A2]. – £9,500

KLEIN, Yves. Dimanche. Le Journal d'un Seul Jour. 27 Novembre 1960. Numero Unique. Paris. Combat et Presse de France reunis. 1960.

Single sheet. (380 × 560 mm, unfolded). This copy folded twice, slight browning to folds, otherwise a good copy. ¶ Yves Klein's renowed Sunday broadsheet, the first appearance of the photographic portrait of himself leaping from a window. Taking the form of a 4-page

Sunday broadsheet, this renowned work was published on Sunday 27 November 1960 and sold on news-stands throughout Paris for one day only, as well as being handed out at a press conference held by Klein at the Galerie Rive Droite at 11.00am on the same day.

al ... &c. London / Edinburgh. Mr. Mitchell, Publisher ... Blackwood & Sons. 1870.

The work was part of the second Festival d’Art d’Avant-Garde at the Palais des Expositions, Porte de Versailles, Paris. Taking the form of a parody of the French newspaper Journal du Dimanche, the Sunday edition of France Soir, the work presents Klein’s ideas about the Théâtre du Vide and was the first time the famous photo ‘Un Homme Dans L’Espace-Le Peintre de l’Espace se Jette Dans le Vide!’ (Man In Space! The Painter of Space Throws Himself into The Void!) was published. –

£2,250

LEAVITT, Nancy. Alexander, Pamela. Table of Elements. Stillwater, Maine. 1989.

8vo. (184 × 126 mm). [34 unnumbered leaves]. Original black marbled handmade cloth, original gouache pasted to spine, marbled endpapers, matching cloth box with mounted gouache to spine. ¶ Nancy Leavitt's unique handmade calligraphic artist book for Pamela Alexander's poem ‘Table of Elements’. A beautiful example of the work of Nancy Leavitt incorporating her work as an artist, calligrapher, and binder. For this book, made entirely by hand, Leavitt chose Pamela Alexander's meditative 62-line poem and has written and illuminated the whole. Large capitals predominate, with smaller lowercase flourishes to create the mise en page, which Leavitt has then illuminated with watercolour, inserted leaves of marbled paper, small mounted gouaches, leaves stitched-in to create folding pages, and additional elements derived from the text itself.

Leavitt has created more than 100 unique books since the mid-1980s and this work, dated 1989, appears to be the fifth she created.

– £2,500

MACLEAY, Kenneth & Vincent Brooks. Highlanders of Scotland. Portraits Illustrative of the Principal Clans and Followings, and the Retainers of the Royal Household at Balmor-

2 vols. Elephant folio. (568 × 466 mm). Title to each vol., leaf with 'Preface' to vol. I, contents leaves to each vol. and 31 lithograph plates (15 in vol. I and 16 in vol. II) each with additional colour by hand and mounted to large leaves of thick blue / grey card within gilt rules and with titles in gilt, each with leaf (or leaves) of descriptive text on thinner paper, text and plates mounted to tabs throughout; sheet size: 556 × 434 mm. Original publisher's burgundy cloth, titles gilt within gilt ruled borders to front covers and gilt to spine, boards with bevelled edges, a.e.g., later glazed yellow paper-lined maroon cloth boxes, burgundy morocco labels with gilt titles to front covers and spines. ¶ Alexander Macpherson Campbell's presentation copy of this scarce large format study. The title of the first volume features an elaborate calligraphic presentation in sepia ink verso: ‘London 1st. Jan[uar]y. 1870 / Presented to / Alexander Macpherson Campbell / by ...’; the following names, there are 9, are signatures and mostly illegible but appear to include John Charldon., Harry Dumas, Bernard Fowler, G. B. Foster, Clayton Litchfield and John Tiscombe. Detailing the principal clans of the highlands and the Balmoral retainers of Queen Victoria, Macleay's work - issued with the Royal arms and imprimatur and 'Published by Command' - provides a large and detailed pictorial record of Victorian Scotland. Each of Vincent Brooks' lithographs - all are finished with remarkable quality with colour by hand - after Macleay's originals is accompanied by Macleay's detailed exegetic text. The clans depicted are as follows: Campbell, Cameron, Chisholm, Murray, Drummond, Gordon, Grant, Fraser, Macdonald, Macgregor, Macintosh, Menzies, Robertson et al.; also shown are Queen Victoria's 'Personal Servant' John Brown, her piper, William Ross, 'Head Keeper' John Grant and others. – £3,000

MANZONI, Alessandro. The Betrothed Lovers; A Milanese Tale of the XVIIth. Century: Translated from the Italian of Alessandro Manzoni. Pisa. Nicolas Capurro, Lung'Arno. 1828.

3 vols. 12mo. (198 × 122 mm). pp. (i), (i), xvii, (i), 390, (ii); 397; 347, (i). Printed title to each vol., vol. I with leaf with dedication ‘To the Chevalier Louis Chiaveri’ , ‘Preface’ by the translator, introduction by Manzoni dated ‘Milano, 25 Gennajo, 1828’, leaf with ‘Advertisement’ and Manzoni's text in 34 chapters (XI in vol. I, XII. in vol. II and XI in vol. III), final leaf of vol. I with advertisements, final leaf of final vol. with errata verso. Full contemporary vellum, gilt decoration and titles to spines. ¶ The very rare first edition in English of Alessandro Manzoni's masterpiece of Italian literature ‘I Promessi Sposi’. Alessandro Manzoni's masterpiece, considered by many to be the finest work of Italian literature after Dante, was composed in the early 1820s, completed in 1823 and published volume by volume between 1825 and 1827. The book made Manzoni famous immediately and was admired widely. This English translation, published anonymously, but the work of Charles Swan, was printed in Pisa and issued in England in June, 1828. Very scarce on the market, we can trace only three copies at auction in the last century. This translation is also scarce in institutions and we can trace only those copies at the British Library (two copies), the Bibliothèque Publique of Yverdon-les-bains in Switzerland and eight copies in the US (at Illinois, the Ransom Center, the Huntington, the Morgan, Indiana, Virginia, Chicago and Princeton); COPAC adds a further copy at Oxford. The two copies held by the British Library appear to be different issues: that with Capurro listed as the publisher (as for the present copy) and that with the Rivingtons. [see Govi 295 for the first Italian edition]. – £9,500

MARINETTI, F. T. Mafarka, le Futuriste. Roman Africain. Paris. Bibliothèque Internationale d'Edition / E. Sansot & Cie. 1909.

8vo. (188 × 130 mm). pp. xi, 310. Original publisher's orange printed wrappers, elaborate pumpkin morocco pull off case with marbled edges, gilt decorative tooling and red morocco spine labels with gilt titles by Peartree of Norwich. [Provenance : Paul Brulat's copy (Brulat was a French journalist and writ-

er) with a presentation from Marinetti; bookplate of Barry Humphries] ¶ Marinetti's early Futurist novel, with a presentation to Paul Brulat. Marinetti's presentation is in sepia ink to the initial blank: ‘à mon très cher / et très Grand / Paul Brulat / hommage d'un /profonde admiration [sic] de l'écrivain / F. T. Marinetti’.

Marinetti's famous novel, written and published first in French, in which he expounds his desire to ‘conquer the dictatorship of love!’ via machine aesthetics and the dehumanisation of art: an important step on the road to Futurist machine worship. The work was very popular and Marinetti presented an enormous number of copies – this is the fourth French edition –the Italian translation of which caused Marinetti to be charged with obscenity. –£550

MASSON, André. Maurois, André. Les Erophages. Gravures Originales en Couleurs de André Masson. Paris. Les Editions la Passerelle. 1960.

Folio. (446 × 352 mm). Leaf with limitation verso, half-title, printed title with copyright verso, leaf with quotation from Valéry and Maurois' text illustrated with 16 original colour etchings with aquatint by André Masson, leaf with achevé d'imprimer recto and colophon verso, final leaf with justification with publisher's blindstamp recto. Loose as issued in original publisher's printed wrappers with engravings to front and rear covers and spine, decorative green painted paper-covered chemise with gouache additions and gilt title to spine and matching slipcase. ¶ André Masson illustrating André Maurois' Swiftian novel. From the edition limited to 155 copies, signed by the author, artist, and publisher, with this one of 104 nominatif examples on vélin pur chiffon de Rives. [Cramer 47]. – £2,750

METRONOME PRESS. Deliss, Clémentine (Editor). Metronome. Publication inter-culturelle des arts plastiques. Nos. 0–11. (All Published). Dakar / London / Berlin / Basel / Vienna / Frankfurt / Oslo / Copenhagen / Portland / Tokyo. Metronome Press. 1996 – 2007.

12 vols. Various forms. Large folio (295 × 455 mm) to 8vo (125 × 160 mm). Each issue in original publisher’s wrappers. ¶ A complete run of the innovative ‘Metronome’, with additional signed ephemera and the four novels published by the Metronome Press. ‘Metronome’, founded in 1996 by Clémentine Deliss, acted as an alternative form of art publishing, having no fixed location or editorial team. The issues were regarded more as artworks than publications due to its collective and research-based methodology. Fiction was always a central component of ‘Metronome’, leading to the foundation in 2005 of the Metronome Press.

‘Discontent with notions of context and the banality of criticism that accompanies the attitude of ‘not knowing enough,’ its propositions offer jump-plugs into an operational circuit between Africa and Europe.’ (Issue 0). – £1,750

DE LA MORE PRESS. Percy, Bishop Thomas. Furnivall, Dr. F. J. and Professor J. W. Hales. (Eds.). The Percy Folio of Old English Ballads and Romances. London. At the de la More Press. 1905.

4 vols. Folio. (312 × 232 mm). Full polished milk chocolate calf by Donnelley of Chicago with their signature gilt to pull-off cases, banded spines with gilt titles in six compartments, turn-ins and board edges ruled in gilt, matching morocco wool-lined pull-off cases with banded spines with gilt titles. ¶ The de la More edition of the highly important Percy Folio on vellum. From the edition limited to 325 copies, with this unnumbered copy 1 of 5 printed on vellum; the remaining 325 copies were issued on hand-made paper. Issued as part of the King’s Classics series and under the general editorship of Professor Israel Gollancz, this four volume edition was the fourth title published by Alexander Morning de la More Press. Thomas Percy (1729–1811), Bishop of Dromore, is noteworthy as a friend of Johnson and Boswell, the translator of the first full length Chinese novel to be published in English and as a saviour and promoter of old English verse. The famed ‘Percy Folio’, a seventeenth century transcription of contemporary and earlier sources for ballads, songs and

romances (among the earliest are those from the twelfth century) and a crucial source for English poetry includes the Middle English ‘Death and Liffe’, Arthurian texts including some not found elsewhere, tales of Robin Hood and ‘Scottish Feilde’ about the Battle of Flodden Field. Bishop Percy made use of the folio to compile his ‘Reliques of Ancient Poetry’ (1765); the folio was also used by Francis Child for his own ‘The English and Scottish Popular Ballads’ (1883). The full contents of the folio – as here – were not published in full until 1867. – £9,500

NEWCASTLE, William Cavendish, Duke of. Methode et Invention Nouvelle de Dresser les Chevaux Par le Tres-Noble, Haut, et Tres-Puissant Prince Guillaume, Marquis et Comte de Newcastle, Vicomte de Mansfield, Baron de Bolsover et Ogle &c. London. Chez Jean Brindley, Libraire de S.A.R. Monseigneur de Galles, dans New Bond-street. 1737.

Folio. (538 × 375 mm). [2 blank leaves, engraved title, printed title, various dedications (see below), engraved plates, pp. 236 (Books IIV, 'Abbregé de la Cavalerie', 'Conclusion au Lecteur', 'Additions', 'Table', 2 blank leaves]. Contemporary English red morocco by John Brindley, boards with elaborate gilt-tooled borders, banded spine in eight compartments with morocco title label with gilt title and black morocco sections with elaborate decorative tooling in alternating compartments, board edges with gilt decoration, turn-ins with additional gilt tooling, marbled endpapers, a.e.g., fore-edge with elaborate contemporary painted decoration beneath the gilding also by John Brindley. [Provenance : Armorial fore-edge painting with the arms of Dr. Richard Mead (1673–1754) combined with those of his second wife Ann Alston and the motto ‘NON SIBI SED TOTI’; bookplate to front pastedown with the text ‘Milton, / Peterborough’, that of the Viscounts Milton and Earls Fitzwilliam, of Milton Park; engraved armorial bookplate of Weetman Harold Pearson, 2nd. Viscount Cowdray, with the motto ‘DO IT WITH THY MIGHT’; library location in pencil to front free endpaper verso; library location in ink to head of first blank

leaf]. ¶ Dr. Richard Mead's copy of the second edition of Cavendish's famous equine treatise bound in contemporary English red morocco with a rare contemporary fore-edge painting of Mead's and his wife's arms, the binding and fore-edge by John Brindley who was, in addition, the publisher of the work. First printed at Anvers in 1658 during Cavendish's self-imposed exile during the English Civil War, this second edition was printed on a better quality of paper using the same plates as for the first edition. Cavendish (1592 – 1676), a staunch Royalist, was raised to the Dukedom of Newcastle at the Restoration of Charles II in 1660, hence the omission of that title on the title of the present work. The archetypal Stuart courtier and aristocrat, the very wealthy and landed Cavendish was a poet, scholar, diplomat, soldier, architect and a famous and accomplished horseman.

Cavendish's ‘Methode et Invention Nouvelle de Dresser les Chevaux’ sets out the influential lessons for schooling horses (‘l'art de manège’) employed by Cavendish himself at his famous riding school. As well as allegorical compositions, a portrait of Cavendish surrounded by worshipping horses, a portrait of Charles II (who was entrusted to Cavendish by his father Charles I for his education) and a group portrait of the Cavendish family, the work features 24 plates of training, many depicting Cavendish himself, as well as his assistant Captain Mazin. The large number of woodcuts in the text depict (in the main) the technical footwork required by the horses in their schooling. While at Anvers Cavendish inhabitated the Rubenshuis, Peter Paul Rubens home for the last three decades of his life; Abraham van Diepenbeke who designed the plates of the work had been a pupil of Rubens. The elaborate fore-edge decoration –painted beneath the gilding of the page edges – features the arms of Dr. Richard Mead, combined with those of his wife, Anne (1689–1763), daughter of Sir Rowland Alston, Bart. The publisher of the book was the bookbinder, publisher and bookseller John Brindley, binder to Queen Charlotte (wife of George II) and Frederick, Prince of Wales, known both for his bindings and for the beautiful and elaborate fore-edge

paintings executed on some of the books he bound. Weber details six bindings with foreedge paintings by Brindley, all with Royal arms or initials (of George I, George II or the majority (four) for his Queen, Caroline of Ansbach) and all now in either the British Library or Royal Collection. The present fore-edge suggests that Brindley executed more such paintings - although likely only for patrons of considerable stature such as Mead – and further research may reveal others.

‘English binder, publisher and bookseller ... Brindley is one of the few known English binders who made fore-edge paintings after the Restoration period until Edwards of Halifax emerges in the latter half of the eighteenth-century ... ’. (Jeff Weber).

[see Jeff Weber's 'Annotated Dictionary of Fore-Edge Painting Artists & Binders &c.' Los Angeles, 2010, pp. 65 - 68; see 'Mead' in Dr. Bisset Hawkins' 'Lives of British Physicians', London, 1830, pp. 155 - 167; see also 'George Smith's and Frank Benger's 'The Oldest London Bookshop - A History of Two Hundred Years &c.', London, 1928, pp. 3 - 20 and especially 15 – 16].

– £37,500

PENN, Irving. The Astronomers Plan a Voyage to Earth . N.p. Apparition. 1999.

4to. (324 × 279 mm). Unpaginated. With 21 black and white plates. Original publisher's tan cloth, title to spine in black, original white pictorial dust-jacket with a reproduction of a drawing by Penn and titles to front cover and spine in black. ¶ An excellent presentation copy with a long and admiring letter to the Swedish critic who had been the only one to appreciate Penn's first book ‘Moments Preserved’. Irving Penn's presentation, is in black ink to the front free endpaper: ‘To Ulf Hård af Segerstad / with admiration / Irving Penn’. Also included, loosely inserted, is a remarkable and personal letter from Penn, (from 2000), in black ink on the photographer's mailing card: ‘Dear Good friend, I am the grateful recipient / of Alison Durehed's translation of your recent writing / in Svenska Dagbladet. Over the years you have / enriched my existence with your generous appraisals. / Your words allow me to think more kindly of what / I do, as I recall 49.

48.

with pleasure our converstions. / Warm greetings to you and your family. / Irving’. Irving Penn made the drawings in this lavishly produced volume in the years 1939 to 1942, before he had begun to take photographs; in 1997 he added a narrative about travellers to earth to accompany this group of works.

51.

the project printed in each vol.). – £2,500

PICASSO, Pablo. Tzara, Tristan. De Mémoire d’Homme. Paris. Bordas Editeur. 1950.

– £1,500

PHILLIPS, Tom. A Humument. London. Tetrad Press. 1970.

50. PHILLIPS, Tom. A Humument. London. Tetrad Press. 1970

5 vols. 8vo. (202 × 148 mm). Each vol. with bifolium with title, explanatory text and justification (each bifolium a different colour in each vol.), a further bifolium of white paper with title, the same explanatory text and publication details in English, French and German and each vol. with a varying number of original screenprints recto only by Phillips, each initialled at lower right in pencil (see below); 80 original colour screenprints in total, sheet size: 194 x 138 mm. Each vol. loose as issued in original hinged colour card box (green, red, yellow, pale pink, turquoise), each with white paper label with printed titles in black to spine. ¶ A scarce series of Tetrad Press box multiples of Tom Phillips' artist book of altered text, ‘A Humument’. From the edition limited to 100 copies on Engineering Cartridge paper, each numbered and signed by Phillips in ink to the justification; a further 25 hors commerce copies were also issued.

‘A HUMUMENT is a treated work. A Victorian novel (‘A Human Document’, by W H Mallock published in 1892) has been taken page by page and altered, adapted and metamorphosed; its text has been excavated for new ambiguities of character and situation and new ironies and paradoxes of utterance. In place of the unused part of Mallock's text an intricate web of visual iconography has sprung up, reminiscent of the varicoloured illuminations of mediaeval and oriental manuscripts. The version has its own characters who mingle with the protagonists of the original in a non sequential plot-structure within which the elements of music, philosophy, poetry and painting are fused together to make a true gesamtkunstwerk.’ (Phillips' explanatory text for

Small folio. (328 × 258 mm). pp. 124. Original publisher’s printed paper wrappers with flaps, artist’s and author’s names in black to front cover and publisher’s details to rear, additional vellum jacket with flaps and printed titles to front cover. ¶ The édition de tête of Tzara’s collection with a suite of Picasso’s finger-drawn lithographs on Japon and with the additional vellum jacket. From the edition limited to 350 copies, with this one of 30 on Hollande Van Gelder Zonen signed by the author and artist and with the additional suite of the plates on Japon Impérial paper; the 300 copies issued on Arches and the 20 hors commerce copies on Alfa Mousse were initialled by Tzara only. For Tzara’s four-section collection (the sections are ‘Le Temps Détruit’, ‘Le Déserteur’, ‘Le Boeuf sur la Langue’ and ‘Le Poids du Monde’), Picasso drew the illustrations directly and spontaneously on the lithographic stone with his finger. Although Tzara had been specific in what illustration he desired, the lithographs he produced for the book were ultimately Picasso’s own. The illustration for the title does not feature printed text in the suite. [Cramer 59; Berggruen 35]. – £9,500

52.

PICASSO, Pablo. Zdanevitch, Ilia (Iliazd). Pirosmanachvili 1914. Paris. Le Degré Quarante et Un. 1972.

Small folio. (330 × 245 mm). [9 unnumbered bifolia]. Loose as issued in arches wove wrappers, additional marbled parchment wrapper and additional printed papier de boucher dustjacket, original coarse-weave cloth chemise with Iliazd’s monogram to spine and matching slipcase. ¶ Iliazd's and Picasso’s homage –their final collaboration – to the painter Niko Pirosmanachvili. From the edition limited to 78 copies on japon ancien, signed on the justification by Iliazd in pencil and with Picasso’s signed drypoint frontispiece.

‘In 1912, the brothers Kyril and Ilia Zdanevitch and their friend, Michel Ledentu, all three fervent Futurists, met the painter

52.

– £12,500

Niko Pirosmanachvili. Shocked by the misery in which the artist lived and eager to draw attention to his exceptional talents, Ilia published a sort of manifesto about Pirosmanachvili’s art in a local paper in 1914. In the summer of 1971, nearly 60 years after their meeting, Iliazd decided to reprint this article as a loyal tribute to his long unrecognised friend ... Iliazd prepared a small copperplate hoping that Picasso would consent to engrave a frontispiece. On February 21, 1972 he went to see Picasso at Mougins, and the artist made for him a remarkable, idealized portrait of the Georgian painter in drypoint .’ (Cramer). [Cramer 154].

PISSARRO, Ludovic Rodo. Ker-FrankHoux. Quelques Bois de Ludovic Rodo. Avec une Glose sur la Gravure par Ker-Frank-Houx. Paris. Artiste Editions / Georges Crès et Cie. (1919).

4to. (269 × 202 mm). [10 unnumbered leaves]. Illustrated with 15 vignette woodcuts by Ludovic Rodo Pissarro, each printed in brown. Original publisher's printed wrappers with titles to front cover in black. ¶ A very fine unsophisticated copy of this scarce work by Ludovic Rodo Pissarro. This charming work is illustrated by Camille Pissarro's fourth son, Ludovic Rodo Pissarro (1878 –1952) and was issued by the art magazine ‘L'Artiste’. From the edition limited to 200 copies on papier vergé à la forme de Greenfield. – £1,250

PRICE, Francis. A Series of Particular and Useful Observations, Made with Great Diligence and Care, Upon that Admirable Structure, the Cathedral-Church of Salisbury. London. Printed by C. and J. Ackers ... and Sold by R. Baldwin. 1753.

4to. (284 × 234 mm). pp. (xiii), v, 78, (i). Printed title, two leaves with Price's dedication to ‘Thomas [Sherlock], Lord Bishop of London’, four leaves with List of Subscribers, three leaves with Price's Preface, engraved frontispiece and Price's text illustrated with 13 engraved hors texte plates (two folding) each with engraved caption by Fourdrinier after Price's drawings

and numbered 1–13, final leaf with advertisement for the second edition of Price's 'The British Carpenter' recto; decorative woodcut head-pieces and decorative 5-line initials. Contemporary calf-backed marbled boards, banded spine ruled in gilt with red morocco label with gilt title 'PRICE ON THE CATHEDRA' in six compartments, hinges worn. ¶ A good copy of the first edition of Francis Price's analysis of the architecture of Salisbury Cathedral and the first analytical rendering of a Gothic building.

Francis Price's text, illustrated with his own drawings, details the structure of Salisbury Cathedral as well as the repairs undertaken at the instigation of the dedicatee, William Sherlock, when Bishop. Price also includes text from Sir Christopher Wren's survey from the seventeenth century as well as translated Latin detail from an anonymously produced mediaeval manuscript. Intriguingly, given the provenance of the book and the presentation note, the mediaeval Latin was translated by William Boucher (see pg. ii) of Sarum; 'William Bowcher, Gent. Sarum' appears in the list of subscribers (presumably the same) and it appears at least plausible that this copy was inherited by his son before presentation to Hayward.[BAL RIBA 2614; Weinreb 1:139 & 43:204; see 'Francis Price, Carpenter' by Colvin & Ferriday in The Architectural Review, November 1953]. – £1,250

RICHARDS, Ceri. Dylan Thomas. Dylan Thomas. Collected Poems 1934–1952. London. J. M. Dent & Sons Ltd. 1953.

8vo. (220 × 146 mm). pp. xiv, 178. Original publisher’s blue cloth, titles gilt to spine, supplied dust-jacket with elaborate signed painting in ink and watercolour over covers and flaps by Ceri Richards with his manuscript title and text in black ink: Homage to Dylan Thomas / Ceri Richards 1953 November’, top edge stained red. ¶ An extraordinary work of sympathy, empathy and synchronicity: Ceri Richards’ ink illuminations to the poems of Dylan Thomas – with the beautiful painted dust-jacket – undertaken while the poet was dying. Presented by the artist Ceri Richards to the important collector and patron Sir Colin Anderson and his wife Morna, this beautiful book represents a remarkable and harmo-

nious appreciation of the great poet Dylan Thomas by his fellow countryman. Drawing on major themes in Thomas’ verse, themes that were also of profound importance to Richards’ own oeuvre, the artist has created drawings on 42 of the leaves of the book and has supplied a dust-jacket covered entirely with original work. For the jacket’s front panel Richards has drawn a superbly evocative portrait of the poet at work, his left profile to the fore, his right hand busy in the act of writing and his pen transforming into the stem of a flowering plant; Thomas’ gaze leads over the spine covered with leaves and flowers sprouting from his pen to a stalking heron against a cloud-filled bright blue sky and beyond to birds in flight sweeping through the sky before Thomas’ own house on the bay in Laugharne. Richards is known to have illuminated four copies of poems by Dylan Thomas, all at a very similar date in November 1953, just before Thomas’ death and during his final days (Thomas died on November 9th, 1953 in New York). The copies he is known to have illuminated include those for his wife, Frances; a copy he sold to Swansea Central Library in March 1954; a copy he gave to his sister Esther Thomas (no relation to the poet); the copy – now misplaced or lost – belonging to the Hon. Mrs. Lucille Frost. This example, that of Sir Colin Anderson, was unknown previously; the copy also includes three letters: two from Ceri Richards (in 1953 and 1966 respectively) to Anderson with details of the volume and a third from Frances Richards (in 1973) to Anderson after the artist’s death. These letters add additional detail to the history of all of the illuminated copies and the provenance of the present example. [see Richard Burns’ ‘Ceri Richards and Dylan Thomas: Keys to Transformation’, London, The Enitharmon Press, 1981]. – £55,000

ROTHENSTEIN, William. Manchester Portraits. Twelve Lithographed Drawings by W. Rothenstein. First Series. Manchester. J. E. Cornish. 1900.

Folio. (335 × 460 mm). Illustrated with 12 lithograph portraits printed recto only, each with a leaf of text. Original publisher's green printed

wrappers, printed titles to front cover in black, the text stitched as issued with the lithographs inserted loose. ¶ An unsophisticated proof copy of William Rothenstein's series of lithographs. From the edition limited to 55 large paper proof copies, of which 50 were for sale; an ordinary edition of smaller format was also issued. The Manchester Portraits consists of twelve portraits of the following Mancunian personalities - Mr A. Brodsky, The Misses Gaskell, Principal Hopkinson, Alderman Hoy, Sir Bosdin T. Leech, Dean Maclure, George Milner, Herbert Philips, Charles Rowley, William Simpson, Reuben Spencer, T. R. Wilkinson. Rothenstein's introduction to the portfolio is far from enthusiastic - 'Seven years ago, in the hopeful fashion of extreme youth, I joyously undertook my first book of portraits. Each succeeding one has proved a more serious task, and, with a growing conscience, I only now fully realize the gravity of an undertaking of this kind. The exigencies of my sitters are not always my own; at the same time, if an unsympathetic rendering of the features or character of any of those included in the present series cause them or their friends pain, I would take this opportunity of apologizing for my lack of insight.' [from the Introduction]. Needless to say Rowley's proposal of a second series of Manchester portraits was abandoned. –£700

57.

ROTHENSTEIN, William. Manchester Portraits. Twelve Lithographed Drawings by W. Rothenstein. First Series . Manchester. J. E. Cornish. 1900.

Folio. (Sheet size 305 × 440 mm). Illustrated with 12 lithographed portraits on rectos only, each with a leaf of text. Original publisher's printed wrappers, with the lithographs loosely inserted. ¶ A complete and unsophisticated copy of William Rothenstein's 'Manchester Portraits' series. – £300

58.

SERRA, Richard. The Drowned and the Saved. 23.4. – 13. 9. 1992. Pulheim. Synagoge Stommeln. 1992.

Square 8vo. (210 × 210 mm). [16 unnumbered leaves]. Original publisher's printed wrappers stapled as issued, covers with monochrome reproduction photographs, titles in black to front cover, loose in original black cloth box with title in blind to front cover. ¶ The deluxe catalogue for Richard Serra's 'The Drowned and the Saved' with an original signed monochrome photograph. Serra's exhibition 'The Drowned and the Saved' – the title is taken from Primo Levi's 'I Sommersi e I Salvati' (1986) – was held at the Synagoge Stommeln, one of the very few German synagogues to survive the Second World War and now the site for rotating art exhibitions. Serra's work consisted of a single monumental iron sculpture, 'two right angles, whose horizontal dimensions are longer than the vertical ones, so that they would invariably fall if they stood on their own, are facing each other, one propping up the other ... '.

‘Serra does not attempt to create something ... that would match the experience of the Holocaust. Rather, he reduces his vocabulary to elemental functions such as that of carrying, of weighing down, or of leaning against one another ... The relationship of the saved to the drowned is a traumatic and burdening one ... the mutual support is not one of mutually propping each other up but of having to prop yourself up against your will. It is a coercive constellation, a relation emerging from the unspeakable experiences of the Holocaust. It is a hermetic relation that the observer cannot, or can only indirectly, empathise with, and so Serra's sculpture confronts the visitor head-on, generating a silent and yet massive distance.’ (Synagoge Stommeln).

Together with the catalogue for the exhibition, housed in this deluxe format in a black cloth box, is an original monochrome photograph (177 × 208 mm), mounted under passepartout and signed by Serra in pencil at lower right. A further publicity photograph (146 x 104 mm) is also included, with printed label verso with details 'Projekt Synagoge Stommeln / Richard Serra / The Drowned and the Saved ... &c.' and credit to 'Ralph Hinterkeuser, Köln', 1991 / 1992. The original invitation for the vernissage for the exhibition, a folded oblong sheet of glossy paper (148 x 208 mm) with monochrome photograph to front

and exhibition details within, is also included. The catalogue was designed by Serra together with Clara Weyergraf-Serra and although there appears to be no indication of limitation, it is likely that this deluxe edition was issued in small numbers. Also included, framed separately, is the original exhibition poster for 'The Drowned and the Saved' (842 x 594 mm); the poster is signed in pencil at lower right.

– £1,750

(SIC). BIROT, Pierre-Albert (Dir.). Sic. Sons. Idées. Couleurs. Formes. No. 1. (Janvier 1916). – No. 53 / 54. (Décembre 1919). (All Published). Paris. sic, 37 rue de la Tombe-Issoire. Janvier 1916 –Décembre 1919.

54 issues in 40 vols. 4to. (282 × 225 mm). Original publisher’s wrappers as issued, with Albert-Birot’s device ‘SIC’ to covers where applicable, issues 26 – 34 with ‘SIC’ replaced with a reproduction of a work of art. ¶ The scarce complete series – with the majority of issues from the édition de tête – of Albert-Birot's avant garde review SIC. The limitations of the tirage de luxe of SIC were as follows: Nos 1–12 in 10 examples on Japon; Nos 13–24 in 6 examples on vieux Japon; Nos 25–36 in 6 examples on Chine; Nos 37–54 in 4 examples on Chine. In the present set, all issues from no. 12 onwards are from the deluxe issue; the first 11 numbers are printed on the standard edition paper. SIC, with its focus on the avant garde was one of the most influential literary, musical and artistic periodicals of the period. From issue number two, Albert-Birot was aided by Gino Severini and in issue number 7, Apollinaire makes his first – but by no means his last –appearance with the poem ‘Deux lacs nègres ... ‘; Apollinaire continued to contribute until his death in 1918 and the triple issue 37 / 38 / 39 was ‘composé en mémoire de Guillaume Apollinaire’. Of particular note is the fact that SIC sought to represent the whole of the avant garde and promoted Cubism, Futurism, dada, with Tzara contributing regularly, as well as contributions from Breton, Aragon and others who would develop Surrealism. [Le Fonds Paul Destribats 65; Ades I.36]. –SOLD 59.

58. 58a.

SIEGELAUB, Seth. March 1969. (One month). New York. (Self-published). 1969.

8vo. (215 × 175 mm). [34 leaves]. Original publisher's tan printed wrappers with calendar details in black to front cover, credit to rear, stapled as issued. ¶ A very good example of Seth Siegelaub's conceptual exhibition 'March 1969'. Each artist was provided with a single page within the catalogue, representing a single day in the month of March 1969. Contributions were purely text-based. The non responses were left as blank pages on the dates for which they were selected.

Artists included Carl Andre (no contribution), Michael Asher (no contribution), Terry Atkinson, Michael Baldwin, Robert Barry, Rick Barthelme, Iain Baxter, James Lee Byars, John Chamberlain, Ron Cooper, Barry Flanagan, Dan Flavin (no contribution), Alex Hay, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara (no contribution), Joseph Kosuth, Christine Kozlov, Sol LeWitt (no contribution), Richard Long, Robert Morris, Bruce Nauman (no contribution), Claes Oldenburg, Dennis Oppenheim, Alan Ruppersberg, Ed Ruscha (no contribution), Robert Smithson, De Wain Valentine, Lawrence Weiner, Ian Wilson. The edition size is unknown. [see 'Six Years : The Dematerialization of the Art-Object from 1966-1972', Studio Vista, London, 1973, pp. 79-80].

–£3,000

SMIRKE, Sydney. Suggestions for the Architectural Improvement of the Western Part of London. London. Priestley & Weale. 1834.

Tall 8vo. (254 × 162 mm). pp. (i), (ii), 117, (i). Contemporary green half-calf over marbled boards, smooth spine with gilt title, marbled endpapers, t.e.g. ¶ The scarce first edition of Sydney Smirke's ambitious proposals for improvements in the West End. The aquatint plates give an idea of the grandeur of Smirke's ideas and imagination, the first, by William Daniell after Smirke, is titled 'The Proposed Situation in the Green Park for New Parliamentary Buildings'; the second and possibly even more ambitious, by J. E. Coombs after Smirle, is titled 'Proposed Situation on the

North Bank of the Serpentine for a National Edifice to Receive the Monuments of Illustrious Men'.

‘Sidney Smirke, whose whole career was overshadowed by that of his brother, Robert, here puts forward his own views on the creation of an impressive government image which was to include an entire nucleus of palaces and offices in Green Park, a Westminster embankment and a Gothic temple on the Serpentine to hold the tombs defacing the interior of Westminster Abbey ... Smirke's plan included slum clearance with proposed dormitories and recreation centres, widening of streets especially in Soho, and more direct routes through the West End. It is clarified by a colour map. His proposed major entrance from Trafalgar Square into the Mall is the only suggestion that actually materialised later.’ (Weinreb).

[Weinreb 24:86]. –£450

TALBOT, William Henry Fox. The Process of Calotype Photogenic Drawing, Communicated to the Royal Society, June 10th, 1841. London. Printed by J. L. Cox and Sons. 1841.

4to. (229 × 182 mm). [Single bifolium: pp. (4)]. ¶ The rare first edition of the first announcement of William Henry Fox Talbot’s calotype method – the negative / positive photographic process – the most important innovation in the history of photography. Although Talbot had announced his researches and progress in the field of what was to become photography in his 1839 lecture to the Royal Society (‘Some Account of the Art of Photogenic Drawing ... &c.’), that lecture, although ground-breaking, dealt largely with the achievement of an image on treated paper and only alluded briefly to the possibility of a more versatile development.

It was not until his 1841 lecture to the same body (the title as per the present publication is ‘The Process of Calotype Photogenic Drawing ... &c.’) that the details of his refinements, and most particularly his successes with the negative / positive process, were delineated. Those successes and Talbot’s development of the resultant negative / positive process for photographic reproduction and duplication re62.

mained the predominant methodology in the field for more than 150 years; all subsequent refinements, whether in the chemicals used, differing methods for image capture, printing and so on, were merely variations on Talbot’s original scheme. Talbot had patented his method in secret (he was awarded ‘Her Majesty’s Royal Letters Patent No. 8842’) in February 1841, prior to his lecture to the Royal Society, concerned by Arago’s announcement of Daguerre’s discoveries, the efforts of Hippolyte Bayard and the priority of his own work. [Gernsheim 655; see Beaumont Newhall’s ‘The Calotype: The Pencil of Nature’ in ‘The History of Photography’, New York, 1997, pg. 43]. – £27,500

(THOMSON, J. & Adolphe Smith). Street Incidents. A Series of Twenty-One

Permanent Photographs, with Descriptive Letter-Press. London. Sampson Low, Marston, Searle, & Rivington. 1881.

4to. (284 × 222 mm). pp. (i), 100 (including 21 leaves with plates). Original publisher’s green cloth, with gilt title and elaborate decoration in blind and gilt figures from ‘Covent Garden Flower Women’ and ‘the London Boardmen’, printed floral endpapers, later cloth box with label with pictorial title to front board and label with title to spine (both taken from the binding itself). ¶ John Thomson’s photographic depictions of London’s street life. Published as a shortened version of Thomson’s earlier ‘Street Life in London’, Street Incidents contains 16 fewer plates, though apart from the altered title the binding is the same. It is unknown whether the plates were reprinted due to the popularity of the work or whether the present volume was reissued with fewer plates to ensure sale of the publisher’s stock. [Parr / Badger I, 48; see Gernsheim pg. 447]. – £7,500

VALE PRESS. Ricketts, Charles. Moore, Thomas Sturge. Danaë. London. Printed by The Ballantyne Press ... [for] Hacon & Ricketts ... And [for] John Lane 1903.

8vo. (237 × 151 mm). [41 leaves including blanks and 3 hors-texte plates; pp. xlv, (i)]. Original publisher’s full vellum pierced for thongs, spine with gilt rules to form

six compartments with title gilt at head. ¶ Laurence Hodson’s copy on vellum of ‘Danaë’, the last book sold by Hacon & Ricketts. From the edition limited to 240 copies with this one of 10 printed on vellum. Thomas Sturge Moore’s (1870–1944) long poem ‘Danaë’ was first published (there is a note to this effect in the book) in ‘The Dial’, also the work of Ricketts, in 1893, before its first separate appearance here. ‘Danaë’, printed in Ricketts’ favoured Kings type, is also notable as the last book published by the Vale Press before the type and matrices were thrown into the Thames; Cobden-Sanderson cast his own Doves type into the Thames on the closure of his own press in 1916 / 1917.

‘Ricketts gave Moore ‘a laughing commission to lengthen it’ as he judges it not long enough to make the book he had in view’. Ricketts asked that the additions be ‘all golden syrup’ ... In the prefatory summary ... Moore describes the poem as like a dream with ‘no fixed order or progress’: ‘it begins and begins again and is broken off rather than ended.” (Maureen Watry). [Provenance : Bookplate of Laurence Hodson, printed at the Kelmscott Press, to front pastedown]. [Watry B43]. – £12,500

WARHOL, Andy. A Gold Book. (New York). (By the artist). (1957).

Small folio. (370 × 282 mm). [20 unnumbered lesaves: 14 leaves of gold paper (including half-leaf for title + 6 leaves of cream laid paper]. Half-leaf with title recto and justification verso and 19 leaves with 13 offset lithograph plates printed in black on gold paper and six printed in black on cream paper, each with additional colouring by the artist by hand. Original publisher's gold paper-covered boards, front cover with collage decoupé lithograph of a hand clasping a flower in black on gold paper. ¶ A unique example of the most beautiful of Warhol's pre-Pop books with a variant cover. From the edition limited to 100 copies, signed by Andy Warhol in ink on the half-leaf justification and with the text: 'Dedicated to / Boys / Filles / friuts [sic] / And / flowers / Shoes and t[ed] c[arey] and e[d]. W[allowitch]. / Book designed by / Miss Georgie Duffee'.

The cover for this copy features Warhol's line drawing of a hand clasping a flower (see F & S IV.115), the whole image cut out and pasted to the gold paper-covered front board. Printed in black on gold paper, this example represents a unique variant, not described in Feldman & Schellman's catalogue raisonné of Warhol's prints, which gives details of the version printed on white paper only.At the end of 1957 Warhol had his third, and final, exhibition at the Bodley Gallery in New York- A Show of Golden Pictures by Andy Warhol - which ran from December 2nd - 24th, 1957. The same year, he produced this book, A Gold Book. Many of the drawings in the book were based on photographs by Edward Wallowitch. Sketches of Anna Mae Wallowitch, Edward's sister, were included in 'A Gold Book' and she also worked, at some point, as Warhol's agent. Wallowitch was to go on to photograph many of the Campbell Soup Cans for Warhol in the 60s. 'A Gold Book ... is the most elaborate of Warhol's editions. He also printed thirteen of the plates on gold paper - inspired, according to Charles Lisanby, by the gold-leaf furniture lacquered with black designs they had seen on their trip to Bangkok.' (F & S pg. 321).

[F & S IV.106 - 124].

–£32,500

65a.

see No. 63

SIMS REED