London: Messrs. Boydell and Company, 1777. First edition;. Thick, tall folios in 3/4 brown marble and red leather; six-band embossed spine with heavy gilt; VG/VG-; boards show some shelf wear around edges, with small tearing along spine length and corners; open gutter in front, but binding strong; both frontispiece portraits detached from spine; gilt edges; slight fading; all prints in good condition with clear legends; Vol. I contains Claude Lorrain’s biography by John Boydell, and 100 prints; Vol. II contains 120 prints; this is part of the mature works by Le Lorrain; in this work (Book of Truth), the names of the purchaser was written on the back of the drawings to guard against copying; it constitutes a major work in the reproduction of master drawings in the form of a catalog raisonne; please note that Vol. III is lacking, since it was published individually at a later date; shelved above case 2. due to size of the item, please contact us for shipping costs.
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Circa 1915-1947. The following original draft drawings and paintings by Marco Montedoro are being offered as a collection. They include original graphite, pen and ink, and watercolor paintings on paper and artist's board spanning the career of Marco Montedoro as a set and costume designer. The archive is a comprehensive representation of his professional career in Europe and the United States. Before he died, Montedoro gave his collection to his close friend Hella Arensen (ne Aronson), a German Jewish newspaper artist who emigrated from pre-war Nazi Germany to New York. Since Montedoro's death, the collection has remained in the Aronson family. Most images are signed by Montedoro, with an average size of 11" x 14", and are in varying condition. A full photographic gallery of this collection is available upon request. Montedoro's family of musicians considered him a child prodigy and sent him in his teens to Paris to study drawing and painting. He worked as an artist in Paris until 1913, when he became the artistic director of the Berlin Metropole. During WWI, he designed posters for Italian theaters and cinemas. Following the war, Montedoro returned to Paris to design costumes for the Palace, Ambassadeurs, Moulin Rouge, and Folies Bergère, including a 1927 show featuring Josephine Baker. During this period he also designed productions in Milan, Berlin, London, St. Petersburg, and Poland. In 1930, Montedoro relocated to New York City and designed for the Schuberts, including the 1941-1942 Broadway production of La Vie Parisienne. From 1932-1947, Montedoro worked alongside Vincinte Minelli designing sets and costumes for Radio City Music Hall, where Montedoro became head designer. Montedoro's genius is featured om Angelo Luerti's 2006 book 'Non Solo Erté - Not Only Erté, Costume Design for the Paris Music Hall 1918-1940.
London: printed [by William Stansby] for Walter Burre [and are to be sold at his shop in Paules Church-yard at the signe of the Crane], 1614. First Edition. Folio; G+; bound in early diced brown calf, newly rebacked with new spine and corners, paneled with gilt lettering; housed in a custom brown buckram covered clamshell; With the Poem and the engraved title page. Both have been trimmed and inlaid, possibly having been married to this copy from another.; With 5 folding maps, Lacking 3 maps: the Arabian Desert (pages 414/415), Troy (452/453), and Troy (454/455). Maps trimmed incredibly close, with map of the Middle East impacted just slightly.; Lacking blank leaf 3K4 and terminal blank 7C6; 4G3r has the woodcut initial hand-colored, with the color bleeding over to the facing page; with the Errata leaf at the end; Printer’s name and bookseller’s address from colophon.; "The first part of the historie of the vvorld .. The third booke" (caption title) begins new pagination on 4A1r.; LD consignment; shelved case 4.
London; Paris: J. Dodsley; De L'Imprimerie de Monsieur, 1789. A unique collection of both the original French and the English translation of the famed novel, together with an awe-inspiring collection of proofs before letters by esteemed French artists. Three volumes housed in a custom three-part black and red leather box, gilt titling to spine, box solid, some wear and cracking; Paul et Virginie is bound in full burgundy morocco, triple gilt rules to boards, spine with gilt titling and tooling, all edges of text block gilt, marbled endpapers, bookplate to front endpaper; Unsigned binding, but early invoice states it was bound by Derome., Paris: De L'Imprimerie de Monsieur, 1789. with half-title, 12mo., xxxv, 243 pages, with 4 black and white plates, foxing to plate edges; "Prix, papier vélin d'Essone, 6. liv."; Both volumes of Paul and Mary are bound in matching full green morocco with elegant gilt tooling, paneled spines similarly gilt; all edges of text blocks gilt; doublures burgundy morocco with matching design to boards, embroidered silk endpapers facing doublures, marbled endpapers following; incredibly tight binding; bookplate to marbled endpaper; Bound by Chambolle-Duru with their gilt stamp to front doublure; London: printed for J. Dodsley, Pall-Mall, ; With an Autograph Letter Signed by Saint-Pierre, addressed "Au Citoyen Le Danois" (André Bazile Le Danois de La Soisière), a member of the Council of Ancients. Measuring ~9 x 6.7 inches (~23 x 17 cm.), with integral address leaf attached. Small tear to upper left corner where seal was attached, small archival repair to upper right corner, neither impacting and writing. Four Postal stamps present on integral address leaf. Actual text is 25 lines in Saint-Pierre's hand, responding to a letter by Le Danois about a meeting, countering his proposed date of the 8th with the 10th. He then goes on to discuss how he was tricked by a man that he had not seen for 20 years, as well as by a young woman. He defends himself that he in no way was compromising the interests of the Republic. The letter is dated "Paris, ce 7 ventose an 7" ( February 26th, 1799); With invoice circa 1895 from E. F. Bonaventure, with a handwritten description of the three volumes in purple ink. "Unique copy in an exquisite Binding by Chambolle extra illustrated with rare set all proofs before letters" "1. Set of proofs by [Achille] Devéria 2. Set of proofs by Corboald 3. Set of proofs ??? 4. Set of proofs Medallions in color 5. Set of proofs Medallions [in color] by Dutailly [Guyot sculp] 6. Set of proofs by Desenne 7. Set proofs by [Jean-Michel] Moreau 8. Set proofs by [Tony] Johannot 9. Set proofs by Corboald (small) 10. Set proofs by Lery[?] 11. Set proofs by [Jean-Antoine-Valentin] Foulquier 12. Autographed Letter In All 70 Plates, All proofs" Shelved case 0.
[Rouen]: [n.p.], 1707. First Edition, First Issue. Quarto, , 204,  pages; VG; Bound in contemporary calf, spine gilt with raised bands, gilding faded and a bit rubbed, inner hinge front cover cracked but binding solid. Large folding table, "Formulaire qui peut servir pour tout un pays", at page 192.; Extremely Rare First Edition, First Issue, with B4 in an uncancelled state, on p. 16, a setier is given as weighing 170, rather than 240 pounds, "...le septier pesant net cent soixante & dix livres..."; In Le Projet d’une dixme royale (“Project for a Royal Tithe”), one of the 18th century’s most important writings on political reform, Sébastien Le Prestre de Vauban (1633-1707) suggested replacing existing taxes, which were unfair and offered limited yield, with a 10% income tax on all land and trade from which no one should be exempt. He substantiated his arguments with a mass of statistical documentation practically unprecedented and, in doing so, pioneered the use of statistics in economics. The idea, which occurred to Vauban as he made observations on his constant travels throughout the kingdom, was intended to help France overcome an economic crisis and keep its rank as a great power. As the situation worsened, in 1706 Vauban had his book secretly printed in François Maurry’s Rouen press and gave his entourage the first copies, bound in Paris at the widow Fétil’s. The French government, too deeply committed to the system of tax farming (i.e., selling the right to collect taxes to groups of financiers for a fixed sum), was reluctant and even unable to revoke the exemptions of the privileged classes. Their dependence on them, and lacking interest in fundamental reforms, led to the government suppressing the publication of his book. On February 14, 1707 the Privy Council ordered the destruction of all the copies, which had been published without permission. The ailing Vauban did not survive the affair, dying on March 30th. Subsequent searches of his home failed to turn up any other copies.; According to Boislisle, the first edition was printed in Rouen in 1706 at the initiative of the Abbé de Beaumont (who is actually credited with the authorship of the work by Boisguilbert). Vauban had the sheets bound by the widow of a certain Fétil, and took great pains that the book did not have any public circulation. It was prohibited on 14 February 1707, but apparently the police were only able to seize two copies. To the police, the binder declared she had had 264 copies in total, 12 bound in morocco, the rest in calf. The two copies seized at the Abbé de Beaumont's were described as in 'veau fauve' and marbled parchment. See Arthur Michel de Boislisle, La Proscription du projet de Dime Royale et la mort de Vauban (Mémoire lu à l'Académie des sciences morales et politiques), Paris, 1875.; A notable rarity, of 'an erudite economic work much in advance of its time, and distinguished both by accuracy of method and breadth of view' (Palgrave), 'creditable alike to the heart and the head of its illustrious author' (McCulloch). 'Though the book was published anonymously, and only a few copies issued (for circulation among friends), Vauban had to submit to the mortification of seeing it 'pilloried' by the parliament, while he himself incurred the displeasure of the king (Louis XIV).' (Palgrave).; The copy of the author himself contained four pages of manuscript in which statements were to be found which could not be printed and in which Vauban, among other things, clearly distinguishes between nobles which have earned their title and position by their actions, whether by their ancestors and by themselves and are an honour to the State, and those who have purchased their titles and are of no use at all to the State. [Les Collections Aristophil].; The Projet d'une Dixme Royale is an outstanding work in the field of public finance. Its two most notable features are its understanding of the central role of fiscal policy in economic reform - the result of an exceptionally comprehensive grasp of the economic process - and its use of detailed numerical data to substantiate conclusions. Schumpeter called the work 'unsurpassed, before or after, in the neatness and cogency of the argument . Purposeful marshalling of all the available data was the essence of his analysis. Nobody ever understood better the true relation between facts and argument. It is this that makes him an economic classis in the eulogistic sense of the work, and a forerunner of modern tendencies' (Schumpeter, History of Economic analysis, p. 204).; BH consignment; shelved case 3.