Original Unique, Signed (182 results)

Hardcover. Condition: Very Good. Signed. First Edition. Inscribed by the author. Minimal wear and handling.

Soft cover. Condition: Very Good. inscription on title page signed by author 'Don'. 102 pages. Size: 8vo - over 7¾ - 9¾" tall. Signed by Author(s). Book.

Hardcover. Condition: Very Good. Dust Jacket Condition: No Jacket, as Issued. (John) Moyr Smith (illustrator). First Edition. A scarce first impression of the true first edition - a set of twelve numbered original etchings (plus frontispiece and title-page) by Moyr Smith designed to be used on a set of tiles, each sized: 9cm x 8 cm. ***INSCRIBED and dated by the author / illustrator Moyr Smith to the front free endpaper in sepia fountain pen ink: 'To Mrs Percy Taylor with Moyr Smith's kind regards 1897.' (Possibly to a prospective customer) **A book of fourteen etchings by Moyr Smith, including frontispiece and title-page with original tissue-guard between. All fourteen etchings present. Each of the etchings are square, inset, and the appropriate size for tile designs: 9 x 8 cm. The etchings are the illustrations by Moyr Smith designed to be used for a set of twelve illustrated tiles (excluding title-page and frontispiece). Possibly Mrs Percy Taylor was a prospective customer for this set of humorous British Courtship tiles, that may not have been produced. ***Very good in buff buckram covered boards with gilt titles to spine and front board. Corners slightly bumped. Boards browned. Spine darkened. Very small green surface mark to front board. Very sporadic light foxing to rear pastedown. Interior pages and etchings clean. ***Twelve numbered original etchings plus frontispiece and title-page. Contents: Frontispiece: Idealization; Title-page: Maiden Meditation; Plate I. Admiration, Early British Period; II. Trepidation, Roman; III. Conversation, Anglo-Saxon; IV. Declaration, Norman; V. Osculation, Plantagenet; VI. Tergiversation, Tudor; VII. Retaliation, Elizabethan; VIII. Recrimination, Carolian; IX. Botheration, Queen Anne; X. Reconciliation, Georgian; XI. Annexation, Regency; XII. Unification, Victorian. Printed dedication states: 'To the most accomplished of Flirts, these Sketches are dedicated by an admiring Student of her pretty little ways.' ***16 pages. 236 mm x 158 mm. ***John Moyr Smith (Mar 1839 - Dec 1912) was born in Glasgow. He was a British artist and designer, known particularly for his work on ceramic tiles. John Moyr Smith was a major but little-researched figure in the design reform movement whose work ranged from ironwork, furniture, pottery, wallpaper and lace curtains to carpets. The large number of designs he made for Messrs Minton included drawing on the metal plates for the following series of tiles: Shakespeare, Tennyson's Idylls of the King, Waverley, Thomson's Seasons, Old Testament, New Testament, Fairy Tales, The Trades, The Months, Anacreon, English History, Music and Sciences. He designed and illustrated tiles, in the Arts & Crafts tradition, for Minton in the 1870s. Minton's was a major company in Staffordshire pottery, and was Europe's foremost ceramic factory during Victorian times. His series of tiles are known for their intricate scenes, often telling stories e. g. from Shakespeare's plays, the Bible, the Morte D'Arthur, the Arabian Nights and Aesop's Fables, and include a Nursery Rhymes series e. g. 'Humpty Dumpty Sat on a Wall'; Shakespeare Series: such as Twelfth Night; and the Idylls of the King Series. John Moyr Smith's tiles are now becoming very much collected, with individual rare tiles fetching high prices. ***This particular book of etchings, showing 'British Courtship' through the ages could have been intended to be used for a series of tiles to decorate the surround of a Victorian fireplaced. ***Only one copy of the first edition of 'British Courtship' by Moyr Smith' is recorded on COPAC, being held at The British Library. This first edition is particularly scarce, being dated and inscribed by Moyr Smith. These etchings may have been intended for but never used for tiles. ***Of interest to antiquarians and tile ceramist historians and collectors, and anyone who wants to acquire an original set of etchings to be used for designs on a original set of tiles for a unique fireplace in their home. Ultra scarce.***. Inscribed by Author(s).

Fine Binding. Condition: Near Fine. Irene Mountfort (illustrator). Unique. A series of 20 leaves bound into a presentation full grain crushed morocco "Designer" binding initialled "D. B-W 1986". The 20th century art abstract design in two colours black and salmon pink with gilt embossed titles down the spine and the tips of what I assume to be piglets tails in the design. The 20 original ink drawings with the full rhyme are mounted and set into separate pages on black art card on the right hand sides only. The size is quarto or 27.5 x 22.5 cm (11 x 9.5 inches. All held in a clam shell box with cloth lining, box has slight wear, contents Fine. Sold as a collection of 20 drawings. Accompanied by a copy of the 1933 "Eleven Joy Street Annual" with these illustrations and rhyme at page 61 onwards. *Note on the artist: There is little known of the artist, either birth or death, she illustrated a number of books between 1932 and 1940, this series on Paddy Pig was published in Number 11 Joy Street in 1933, probably drawn in 1932. She illustrated an edition of Alice in Wonderland in 1940 which appears to be her last published work. Was she killed in the war? **See Alan Horne "Dictionary of 20th Century Book Illustrators". The "one off" Presentation binding is a lovely & unique example of 20th century art designer bindery craftsmanship. Initialled inside back board, name not found. A Copy of the Joy Street Annual Number Eleven will be included in the purchase price. Signed by Author and Artist.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Stephen King (1974-78): The first five books by the 'King of Horror', published by Doubleday. All five books are true US first editions, first printings, and all are signed by the author. The first four titles are housed in a limited edition wooden tray case (Dolso case) lettered 'D' (D like Doubleday) with a special design engraved to the front, and they include an original artwork by prominent Stephen King illustrators. 'The Stand' is also housed in a solander case for protection. The collection in order of publication dates: Carrie (1974), US first edition, first printing, published by Doubleday. Signed and inscribed by King on the front free endpaper: "To George Best wishes, Stephen King | 5/4/83" 'First Edition' on the copyright page, and 'P6' in the margin of the last page as called for. In fine condition in like dust jacket. Housed in a limited edition wooden tray case lettered 'D'. Includes an original artwork by Rachel Readman. Stephen King's first published novel with a print run of 30,000 copies in hardback. Salem's Lot (1975), US first edition, first printing, published by Doubleday. Signed by King on the front free endpaper in red ink and early 1970s signature. 'First Edition' on the copyright page and 'Q37' gutter code on the last page as called for. Second state dust jacket with 'Father Cody', and new price of $ 7.95 printed over clipped price. A near fine copy with light rubbing to the boards' edges. very good dust jacket with light rubbing as shown. Housed in a wooden limited edition tray case lettered 'D' which included an original artwork by Ned Dameron. Stephen King's second novel, had a print run of 20,000 copies only. The Shining (1977), US first edition, first printing, published by Doubleday. Signed by King on the title page: "For Stephen Best, Stephen King | 9/9/79". 'First Edition' on the copyright page, with 'R49' gutter code on page 447 as called for. Dust jacket correctly priced at USD 8.95. A fine book in a near fine dust jacket with the lightest of fades to the spine. Housed in a limited edition wooden tray case lettered D which includes an original artwork by Glenn Chadbourne. A print run of 25,000 copies of which many were remaindered, but not this copy. Night Shift (1978), US first edition, first printing, published by Doubleday. Scarce review copy with the Doubleday Review slip loosely inserted. Signed by King on the title page. 'First edition' on the copyright page as well as the correct gutter code S52 on page 336. Jacket priced at $8.95. A stunning mint copy. Housed in a limited edition wooden tray case lettered D which includes an original artwork by Glenn Chadbourne. Only approximately 12,000 Night Shift first edition copies were printed. The Stand (1978), US first edition, first printing, published by Doubleday. Signed by King on the front free endpaper and dated 11/1/80. 'First Edition' statement on the copyright page and T39 gutter code in the margins of the last page. The dust jacket is correctly priced at USD 12.95. A fine unread copy. Housed in a clamshell case with the dust jacket art on the front. One of 70,000 copies printed. A stunning collection of the first five Stephen King books made even more special by the display in the limited edition cases with original artwork. Doubleday is the publisher which launched Stephen King's long, tremendously successful and prolific career. No other writer has had a greater impact on popular culture than Stephen King with most of his stories having been adapted into TV-series or films. From the 1980s onwards his books typically went into print runs of hundreds of thousands if not millions, but the Doubleday first edition books will always remain highly coveted and valuable due to their scarcity, popularity and quality. If one had to choose a handful of King's books into any collection these five would be the top choice. We have more images upon request. First and Fine. Signed by Author(s).

souple. Condition: Bon. A human document, with an Introduction by Barbara Hannah, 8vo paperback, Schippert & Co, Zurich, s.d. [ 1967 ], XII-128 pp. with 12 original colored drawings under an envelope pasted on guard, and autograph text in flemish on 14 leaves (letters, poems) in another one. Full Tite : The healing influence of Active Imagination in a Specific Case of Neurosis [ Unique and exceptional copy with autograph manuscripts and 12 original drawings: Anna Marjula mystery solved ! ] Unique copy with 12 original colored symbolical drawings sometimes (3 of them with comments in english) and 14 leaves with manuscript text (3 letters and poems) in flemish. Most of this extra-material is not signed except three letters (two dated 13-5-73 and 28-10-74) signed "Tante Han" or "Hanna", clearly original work by "Anna Marjula", pseudonym used to protect the identity of the author (The letter "E". On an envelop is written : "These drawings illustrate the fifth conversation with the Great Mother pages 26-27". Many early jungian analysts worked with Anna Marjula (Toni Wolff, Emma Jung or Barbara Hannah), but her real name remained unknown, until now (but we knew it was a pianist). Indeed, our research allowed us to identify the recipient, Ms. Parvati Chavoix-Jodjana ("Vati") but especially the author, who hides behind the pseudonym of Anna Marjula : the famous dutch pianist and composer Hanna Beekhuis (1889-1980) ! A newspaper clipping is joined on a postcard, (that we join), titled : "Gouden medaille voor Hanna Beekhuis" and here's the translation : "Gold medal for Hanna Beekhuis: Arnhem, 3 Oct. - The Dutch composer of chamber music works and songs, Hanna Beekhuis from Ellecom, who currently resides in Zurich, has won a gold medal and an honorary diploma with "Reflet du Japon", a composition for viola and viola at an international competition held in Buenos Aires". It is known she won this medal in 1961.Hanna Beekhuis resided in Zurich, and was previously in relationship with Carl Jung (28 letters or copy of letters between Jung and Hanna Beekhuis, from 1942 until 1960, would be kept in the ETH-Bibliothek). Barbara Hannah explains in her preface that "Professor Jung had, however, once spoken to Anna of including it in a volume of case histories, and, as he died before he had collected the other cases, she was naturally disappointed". We identify well the identical writing of "Aunt Hanna" with that present on the handwritten drawings, and with the only autograph word reproduced in the work - "Eve".Our incredible copy comes from Parvati Chavoix-Jodjana, daughter of a famous javanese dancer in France, Raden Mas Jodjana (1893-1972) and his wife Raden Ayou. Hanna Beekhuis accompanied the dancer in the 1920s. Another interesting relation with Jungian Psychanalysis is that the Jodjana were friends with Kurt Binswanger and his wife Erica since 1935.Here's some translated extract on a signed letter : "You said me that your Father has become your Guru. What is a guru ? [ ] Your father told me that he was a free thinker. I am that too but Christianity [ ] is still in blood". In another one : "The Jodjanas" have meant a lot to me in the course of my life, especially your father, [ ] your mother too". Langue: Anglais.

Notebooks. Condition: Very Good. Original Manuscript. The Author's Archive Of His Sentimental Poems And Songs, With Some Translations From German. Caldwell Published Prolifically In The Newspapers In The Mid-Nineteenth Century, In Addition To At Least One Volume Of Poetry (Well-Received In The North American Review.) Four Volumes: 1. "Translations From The German Made For The John W. Tufts And Set To Music By Him For "The Normal Music Course- W. W. Caldwell". 122 Entirely Handwritten Translations, Each With Title And Date (December 1882 To February 1884), With His Neat Handwritten Account On The Last Page, Showing Tufts Paid Him A Total Of $538 For This Work. A 3/4 Calf Notebook, Quite Worn, Near Fine Internally. 2. (Untitled) Signed 3/4" Calf Notebook, Signed On First Page, Containing Approximately 188 Original Poems And Songs, And Translations Of German Poems And Songs. Most Entries Dated (March 1856 - February 1884). A Note Mentions Receipt Of $25 From Tufts, The Music Publisher. 3. Cloth Notebook, Unsigned. Approximately 52 Handwritten Original Poems And Songs, And Translations From The German. 4. Bound "Scrap Book" (3/4" Leather And Moire Silk), Hand-Titled "Poems And Translations By William W. Caldwell 1853 -" On Ffep, With 116 Very Neatly Mounted Clippings, Of His Poetry And Translations, From The Newspapers In Which They Were Originally Published. (The Book Contains 109 Poems And Translations, But Most Of The Book Is Represented In The Clippings). A Few Of The Clippings Are Hand-Corrected Or Enlarged To The Side. Signed by Author(s).

Hardcover. Condition: VG. Dust Jacket Condition: VG. Limited Edition. A few pages of reproductions of the Village Voice from 1981, reproductions of WPA artists, two lovely signed and numbered limited edition lithographs by Desjardijn on heavy fine paper and the essay on finding lost WPA art by Denoon. An odd conglomeration of differing items but interesting, all bound in hardcovers with another more of Desjardijn's artwork on the front and rear covers. RARE. Unusual. Slipcase a bit worn, covers showing a few bumps, interior pages all fine. ; Folio 13" - 23" tal; RBGLASS.

Couverture souple. Condition: Satisfaisant. Edition originale, Édition spéciale. Tapuscrit original en feuillets avec de nombreuses corrections manuscrites (ratures et ajouts), *** in-4 de 27x21 cm, *** état correct (pages écornées). *** 33 feuillets imprimés aux rectos (versos vierges). ********** Le Pays Basque et les Pyrénées. Causerie faite par Monsieur Raoul Masseron à la Séance de Projection de Mayenne-Photo du 1er Février 1925. ***** Annotation manuscrite : Charles Stindel qui m'a tapé ce travail est décédé subitement le mercredi 23 Novembre 1938, dans sa 53ème année. Monogrammé R. M. pour Raoul Masseron. ***** Raoul Adolphe MASSERON est né le 24 juin 1882 à Laval (Mayenne) et décédé le 9 mars 1954 à Laval en Mayenne, à l'âge de 71 ans. Industriel, photographe, à l'origine de Mayenne-Photos. [Sources, en partie : Bernard SONNECK Geneanet]. ***. Signé par l'auteur.

Condition: Gut. Unique Edition. Bll.-Gr.: ca 50 x 65 cm - Bildgr.: ca 36 x 52 cm. Gut erhalten - Bon etat. * eigentlich Willy Verkauf oder Verkauf-Verlon (06.03.1917 in Zürich - 12.02.1994 in Wien) war ein schweizerisch-israelisch-österreichischer Maler, Graphiker, Schriftsteller, Verleger und Publizist, als Kind lebte in Wien, 1933 wanderte er nach Palästina, nach d. 2. Weltkrieg kam er zurück nach Österreich, war er u.a. Direktor des KPÖ-Parteiverlages Globus, veröffentlichte Zeitschriften wie "Das Tagebuch", "Erbe und Zukunft" u. "Die Bücherschau", er wohnte u. lebte von 1961 bis 1971 in Paris und anschl. wieder in Wien (Ehrenhalber Grab in Wiener Zentralfriedhof) .Lithographie Edition B sur Papier Arches de 70 Exemplaires (Editions A - B- C: 110 Expl.) Sprache: Französisch Gewicht in Gramm: 70.

No Binding. Condition: Fine. 1st Edition. Size: 55.5cm x 55.5cm. The sixth in the series that Clive Hicks-Jenkins based on Simon Armitage's retelling of the anonymous 14th Century folk tale. Unique copy. In fine condition. Signed and inscribed in pencil by the artist 'For Sarah'. 'Sarah' was the late Sarah Parvin and the prints inscribed to her personally by Clive Hicks-Jenkins are arguably the most important copies extant for two reasons: Firstly, the contemporaneous record indicates that the 'Sir Gawain and the Green Knight' project was Sarah Parvin's idea in the first place and secondly because there is compelling evidence that it was Sarah Parvin who made it happen. Please contact us for more information. Signed by Illustrator(s).

Couverture souple. Condition: Comme neuf. Dust Jacket Condition: Comme neuf. Edition originale. EXEMPLAIRE UNIQUE DE CE LIVRE PEINT PAR CLAUDE VIALLAT AVEC SIX GRANDES AQUARELLES ORIGINALES FORMAT UNE GRANDE TOILE ENRICHI D'UN GRAND PROFIL DE TAUREAU CRAYONNÉ Bernard Noël, États de la langue, poèmes enluminés de six aquarelles originales de Claude Viallat, Nîmes, Éditions de la Palourde, 2006, première couverture blanche imprimée en gris et bordeaux, à rabats ; deuxième couverture papier fibre végétale moucheté enrichi d'un dessin original au crayon de l'artiste ; 8 double f., en feuilles, 27,5x36,5 cm ; emboîtage couleur crème de l'éditeur, dos titré en noir et bordeaux. Cette édition originale d'États de la langue ornée de peintures de Claude Viallat, a été achevé d'imprimer le 21 juin 2006 à Losne par Thierry Bouchard, pour le compte des Éditions La Palourde, à Nîmes. Il a été tiré 52 exemplaires dont 12 hors commerce. Celui-ci justifié n°24 et signé JYL (Jean-Yves Lacroix) au colophon. L'exemplaire est également signé au crayon par Claude Viallat et Bernard Noël au centre d'une double page muette suivant la page de titre. Exemplaire unique enrichi d'un dessin original au crayon de Claude Viallat sur la 2e couverture, grand profil de taureau, qui fonctionne comme une dédicace concédée à l'ancien propriétaire de l'exemplaire. Ce profil de taureau rappelle celui des empègues, ces petits dessins réalisés au pochoir autour des portes des maisons, dans certains villages du sud du département du Gard où les traditions taurines camarguaises sont très marquées. Ce motif, souvent choisi par Claude Viallat dans le cadre de dédicaces privées rappelle la tradition de la représentation des animaux emblématiques de la Camargue : cheval, taureau, flamant rose ou toute autre représentation de la bouvine. Les six aquarelles originales de Claude Viallat, mises côte à côte, forment une grande toile, l'artiste ayant disposé au sol l'ensemble des feuillets pour les peindre d'un seul tenant avant de reconstituer le livre suivant la logique de l'enchainement des quinze sections numérotées du recueil de poèmes de Bernard Noël. Acteur majeur de la poésie française contemporaine, Bernard Noel (1930-2021) a consacré sa vie et son oeuvre à dénoncer l'oppression, la violence, la censure - mais aussi la "sensure", ce terme qu'il avait forgé pour évoquer la privation de sens. En 2016, l'Académie française avait consacré l'ensemble de son uvre poétique en lui attribuant son Grand Prix de poésie. Le poème imprimé ici interroge la fonction du langage et le rôle de la poésie en tant qu'acte de création. Extraits : « Longtemps il a fallu des pieds pour faire un vers / aujourd'hui il suffit d'une décision » « si vous dites : ceci est un poème / vous parlez du poème comme vous parlez de votre pied » « que ceci aie l'apparence d'un poème ne prouve en rien que ce soit un poème la lecture peut seule en décider » Superbe exemplaire, infiniment désirable, en magnifique état, unique par la dédicace dessinée qu'il contient. Envoi soigné, assurance comprise, avec remise contre signature. Dédicacé par l'illustrateur.

Full-Leather. Condition: Near Fine. Original Documents. Folio. Handsomely bound in an attractive volume of red crushed levant, Janseniste; gilt backstrip with the emblematic bee and crowned "N"; inner morocco borders gilt. Housed in matching red cloth slipcase. A unique collection of original documents dating from the late 1790s to the end of Napoleon's reign, signed by Napoleon's Marshals and Generals, often on official letterhead. Documents as follows: 1) D.S. with secretarial signature of Bonaparte. Signed by Louis-Alexandre Berthier, Prince of Wagram and Hugh-Bernard Maret, Secretary of State. Folio, vellum. June 10, 1803. Department of War letterhead. Concerns promotion of Captain Jean Adenot of the foot artillery. 2) L.S. by Count Jean-Baptiste Jourdan. 1 1/2 pages. Folio. Jourdan's official letterhead as Administrator General. Sept. 10, 1802. Regards payment of land, sumptuary and personal taxes for the year 1802. Jourdan is regarded as one of Napoleon's most successful generals. 3) A.L.S. by Marshal Francois Christophe de Kellermann, Duke of Valmy. 1 p. 4to. March 25, 1803. A friendly letter to Citizen la Mothe. Kellermann is known as "the Hero of Valmy". 4) A.L.S. by Count Antoine Drouot, "the Sage of the Grand Army". 2 pp. October 8, 1807. To Col. Tusset St. Martin, relating to army matters and to Charleville. 5) D.S. by Secretary of War and Marshal Jean Bernadotte (Future King Charles XIV of Sweden and Norway), General Jean Humbert and others. October 3, 1799. Account of military expenses on official Ministry of War partially printed form. 6) O.S. by Marshal Louis-Alexandre Berthier, Prince of Wagram and Napoleon's Chief of Staff. 1 p. Folio. Official letterhead. Paris, August 15, 1800. Ordering his aide-de-camp, Brugere to remain in Paris until his return from Spain. 7) L.S. by Marshal Louis-Gabriel Suchet, Duke of Albufera. 1 1/4 p. October 13, 1800. His official letterhead. A fine letter entirely upon military matters relating to the army of Italy. One of Napoleon's most brilliant generals. 8) L.S. by Count Jean Francois Aime Dejean. 2 pp. Flio. May 13, 1809. Official letterhead of the Administration of War. Directive regarding military hospitals and physical infirmities of the soldiers. 9) L.S. by Andre Massena, Duke of Rivoli, Prince d'Essling. 1 1/4 p. Paris. April 22, 1810. Regards a decoration and refers to the marriage of Maria-Louisa to Napoleon. Napoleon refered to him as "the greatest name of my military empire". Even today is regarded as one of the greatest field commanders in European history. 10) A.L.S. by Count Nicholas C. Oudinot, Duke of Reggio. 1 p. 4to. Courcelles. December 2, 1811. 11) D.S. by Marshal Nicolas Jean-de-Dieu Soult, Duke of Dalmatia. 1 p. Official letterhead as Marshal of the Empire and Colonel-General of the Imperial Guard. June 25, 1804. 12) A.L.S. of Francois Joseph Lefebvre, Duke of Danzig on a portion of a document which also displays other army matter. Folio. 2 p. Mentions Massena and the wounded in the hospitals of Switzerland and Germany, among other matters. 13) L.S. by Louis-Nicolas Davout, Prince of Eckmuhl. Known as "The Iron Marshal". 1 p. Ministry of War letterhead. June 1815? Mentions Marshal Soult as Duke of Dalmatia. 14) A.L.S. by Marshal Pierre Augereau, Duke of Castiglione. 1 p. Paris. October 10, 1814. Recommendation for the Legion of Honor. 15) A.L.S. by Geraud Duroc, Duke of Fruili and Grand Marshal of the Palace. 1 p. Asking that sentries be placed at certain strategic spots. 16) Letter fragment signed by Marshal Laurent de Gouvion Saint-Cyr. 17) Marshal August Marmont, Duke of Ragusa. Three lines signed with initial. 18) A.L.S. by Marshal Bon-Adrien Jeannot de Moncey, Duke of Conegliano. 1 p. Folio. Letterhead of the Army of the Rhine and Moselle. June 11, 1796. Letter to the Minister of War regarding a Chief of Brigade who served with distinction. All documents tipped in to folio sheets, accompanied by a variety of. Signed by Author(s).

Soft cover. Condition: Fine. Fine, though wraps are somewhat crudely made. Hand sewn in two signatures; covers are an original artwork by the author: "Fat Pierrot (Double) # 3 (Mixed media on paper)". 7x8.5 inches; unpaginated: 16 leaves. In a black-cloth-covered slipcase with leatherette spine with gilt titling. Contains 12 of the 13 poems in the author's "Ten Parables" plus 3 others (details on request). Inscribed on the flyleaf: "To Laure-Anne Bosselaar - with thanks and [unclear] from Bill Knott - May '97". Laure-Anne Bosselaar is a Belgian-American poet, translator, professor, and former poet laureate of Santa Barbara, California. William Kilborn Knott (1940 - 2014) was an influential poet and visual artist who grew disillusioned with the poetry establishment and turned to printing and distributing his own work, usually in stapled chapbooks. He notes in another handsewn chapbook, "Quartorzains from August": "This, like all my handsewn books, is one-of-a-kind.". Signed by Author(s). Book.

Hardcover. Condition: Near Fine. Dust Jacket Condition: No Dust Jacket. Limited Edition. A; #114/1000. Binding tight and straight, inner pages clean and unmarked. Housed in near-fine pictorial slipcase. Signed by Mazucco on half-title page. ; Signed by Author.

99 + [3] pp., 4to, of which 31pp. are original photographs, on grey card mounts, each with tissue guard and manuscript caption in white ink. A further five small photographs laid down on pages of the typed text. In very good condition, on aged paper, in modern green leather quarter-binding with cloth boards and misleading title on spine 'THE BUDGET | CAMBRIDGE' In a contemporary hand on leaf preceding title-page: 'Please return to | Chas Nunneley | (Room 1, 3rd Floor) | A & R Branch | A. G. Dept | General Post Office (North) | (London) | E.C. | or to | C. O. Smith | Room 26 | 3rd Floor'. Attractive title-page by C. O. Smith, in black and white ink on soft grey card, with illustration of man in bowler hat with hands in pockets, smoking a clay pipe, standing in a street in front of a bollard, with advertising board displaying 'No 16', and the title 'The Budget | An A G D Magazine | Edited by G. Nunneley & C. O. Smith'. The magazine is a rare example of a late-Victorian/Edwardian method of circulating original material. Subscribing contributors would send in their articles (typed and in manuscript) and illustrations (drawing, paintings and photographs) to the editors, who would make them up into a unique magazine, which would then be circulated to subscribers, each of whom was only allowed to keep hold of the item for a set time. Apart from the title-page and the contents page (both by C. O. Smith), the text of the present item is entirely typed, with all the illustrations photographs. The volume begins with five pages of 'Editorial Remarks' by Nunneley, ending: 'In conclusion, I have only to remind our Readers that each Subscriber is entitled to keep the "Budget" for one night, and that Subscriptions are payable to either of the Editors.' The magazine's main article (pp.9-26) is 'Cambridge by 'E. G. R.', consisting of five pages of text and fourteen excellent architectural views, beginning with 'Trinity, Principal Gate' and ending with 'Clare Bridge'. Nunneley identifies the author in his preface, and gives the background of the photographs: 'Mr. E. G. Richardson has again generously provided us with a large proportion of our Photographs. In spite of his complaint that the Yearly Photographic Conventions "last for too short a time", his results serve to shew that at least one photographer made the most of his opportunities during the 1901 Meeting at Cambridge. May that same photographer enjoy many more such Meetings in equally congenial circumstances!' The magazine's other articles (with authors identified from Nunneley's preface) are 'The District of Dorking' (pp.79-89) by P. D. Mathie; four contributions by 'A. C.' [A. LeCheminant], consisting of two poems, 'Loves Transformation' and 'In the Twilight', a short story titled 'The King's Mercy' and the final article titled 'The Poet Discourses'; an article with photographs by 'W. H. H.' [W. H. Haines], 'Prints from Old Negatives' ('The negatives are not so very old this time - only the last six or eight years. The first six are views about Godstone - only twenty miles from London, in a charming Surrey country, still wonderfully unspoiled, thanks to the absence of a railway'); 'A Medley of Quaint Epitaphs | Wise and Otherwise' by Nunneley; a story by 'E. H. W.' [E. H. Ward], 'The Souls choosing new Lives'. The final page of the volume carries a 'Financial Statement', signed by Nunneley, giving receipts and payments (including 'Binding', 'Typewriting, Paper, Mounts, &c.'). Bound in at the end of the volume is the customary section of contributors' feedback, in this case consisting of three pages of manuscript 'Criticisms & Suggestions' by seven individuals, each signing with initials. The first of these, by 'A. G. W.', begins: 'I am writing this in the 5.15, racing down to that most maligned Southend on Sea. I am not drunk as ye suppose. This number of the Budget seems to me a little "stodgier" than usual, unless it is that I am becoming more frivolous in my old age.' After continu.

First edition. A UNIQUE COPY, ILLUSTRATED WITH 17 FINE ORIGINAL PENCIL DRAWINGS BY PAUL BOUTET-LAGREE. A numbered copy from a limited edition, printed on fine laid paper. 8vo. Beautifully bound for Boutet-Lagrée (his elaborate monogram, in gilt, on front cover) in half morocco and decorated boards. Original wraps preserved. Top edge gilt, other eges uncut. UNIQUE AND FASCINATING.

Hardcover. Condition: As New. First Edition. [Association Copy, Extra-illustrated; inscribed by illustrator] Includes 15 original watercolors, painted by the illustrator, Genevieve Vaughan-Jackson. These watercolors were used as the illustrations for this book. Each illustration has a penciled page number. Painted on 13 drawing boards, the paintings are 7-1/2 x 5-1/2 and 8-1/2 x 10-1/2 inches. The book is inscribed by the illustrator to her mother. Hardcover and dust jacket. Dust jacket in protective mylar cover. Fine binding and cover. Clean, unmarked pages. Ships daily. Signed.

Couverture souple. Condition: Très bon. Edition originale. Pierre-André Benoit (PAB), Centre Culturel Français de Rome, 1977. Textes de Jean Dubuffet et Marc Alyn. Brochure composée de 2 doubles feuillets volants, 4 pages, insérés dans 1 feuillet cartonné reproduisant 2 collages de PAB sur la couverture et la 4e de couverture. En tout, reproduction de 6 collages en noir à pleine page et 3 collages in-texte de PAB. Dimensions : 25x16,5cm. Exemplaire unique enrichi d'un collage original en couleurs aux oiseaux de PAB, signés PAB à la mine de plomb dans le coin inférieur droit. Ces collages originaux correspondent parfaitement à l'esthétique de ceux reproduits dans le catalogue. Cette exposition a été organisée par l'Association Culturelle Actuelles Formes et Langages dirigée par Marc Alyn et Claude Argelier à Uzès dans le Gard pour Centre Culturel Français de Rome en mars 1977. Elle a réuni 60 peintures, 10 recueils poétiques et manuscrits et plus de 150 livres illustrés par P.-A. Benoit. « La clef de cette oeuvre c'est qu'elle répond à des pulsions qui s'exercent en direction des valeurs négatives. C'est un cas rare. P.-A. Benoit ne regarde pas vers le soleil. Il regarde vers l'ombre. L'ombre même est trop dense pour son contentement. Ce qu'il lui faut c'est l'ombre d'ombre. Il est passionné du non-être. Ou du moins du presque non être. Il veut s'approche du non être autant qu'il est possible, lui chatouiller la moustache (comme le dompteur fait, de sa badine, au lion), percevoir son haleine. » Jean Dubuffet « Comment ne pas songer, présentant l'oeuvre multiple de Pierre André Benoit, à ces érudits de la Renaissance tout à la fois peintres, poète et éditeurs qui, dans leurs imprimeries de Florence ou de Lyon, dosaient l'encre et l'esprit afin de donner forme à quelque fabuleux bestiaire ? Comme eux, PAB est un créateur complet capable de concevoir, d'écrire, d'illustrer et d'imprimer ses livres, et c'est sans doute ce qui explique l'indicible harmonie - et la rareté bibliophilique - de ses publications. » Marc Alyn * ** Poète, imprimeur, éditeur, collectionneur, Pierre André Benoit dit PAB (1921-1993), natif d'Alès, connut un destin éditorial hors norme. En 1986, il fit don de sa collection d'uvres d'art à sa ville natale, Alès, et de ses collections littéraires à la Bibliothèque nationale de France (réserve des livres rares et précieux). Peintures, gouaches, dessins, estampes, sculptures, livres d'artistes : près de 425 ouvrages. Le château de Rochebelle fut acquis par la ville d'Alès pour y accueillir en 1989 le Musée-bibliothèque Pierre-André Benoit, soit des peintures, gravures et sculptures d'Alechinsky, Arp, Braque, Bryen, Hugo, Mirò, Picabia, Picasso, Survage, Vieira Da Silva, etc., des livres illustrés par ces artistes avec des textes de Breton, Char, Dubuffet, etc. Signé par l'illustrateur.

Couverture souple. Condition: Très bon. Edition originale. René Pons, À Wang Wei (701-761) poème, dessin original sur double-page Canson noir de Daniel Dezeuze, Rivières Sète Gajan, septembre 2008, couverture blanche imprimée à rabats, en feuilles, 7 double f., 17,7x13,5cm + emboîtage éditeur. XV exemplaires. Exemplaire 13/XV signé par l'auteur et l'artiste au colophon. Papier d'Arches. Édition originale. Il s'agit du 786e livre imprimé par les Éditions de Rivières initiées en 2002 par Jean-Paul Martin, petit cousin de Pierre André Benoit, dans la continuité de la philosophie éditoriale de l'artiste alésien. Magnifique hommage poétique de René Pons, écrit à Gajan le 24 mars 2005, et plastique de Daniel Dezeuze, inspiré de la calligraphie extrême-orientaliste, à l'art du poète, peintre et musicien chinois de la période Tang : Wang Wei (701-761). On disait de lui qu'il était habité par le Tao et que, délivré de toute conscience et de toutes limitations, il était en mesure de rendre à la nature sa beauté invisible perceptible aux sens. Extrait : "Temps et distance N'existent plus Depuis l'Orient extrême Wang Wei me tend la main La pluie boudeuse Depuis longtemps Est enfin là Les oiseaux migrateurs arrivent Matin et soir le jardin Est un parterre de cris Et l'aube sent l'herbe mouillée [.]" L'écrivain René Pons est né près de Montpellier en 1932. Après deux années d'étude de Médecine et deux licences de Lettres, il enseigne dans le secondaire puis, ami de longue date des peintres du groupe Supports-Surfaces et de quelques autres, il enseigne pendant une quinzaine d'années à l'Ecole des Beaux arts de Nîmes. Il a écrit plus d'une quarantaine d'ouvrages et de nombreux livres d'artistes dont une soixantaine pour les Éditions de Rivières. Né en 1942 à Alès, dans le Gard, Daniel Dezeuze passe sa jeunesse à Montpellier où il étudie à l'école des Beaux-Arts. Entre 1961 et 1967, il voyage au Canada, au Mexique et aux Etats-Unis où il découvre les uvres des peintres abstraits de l'après-guerre ainsi que les cultures indienne et nomade. De retour en France, il s'installe à Paris et démarre alors sa véritable carrière artistique avec la série des Châssis, qui témoigne d'une recherche commune aux démarches plastiques de l'époque, à savoir la déconstruction des supports et des matériaux traditionnels de la peinture. À partir de 1968, il est l'un des fondateurs du groupe Supports/Surfaces et il crée l'année suivante avec Vincent Bioulès, Louis Cane et Marc Devade la revue Peinture, Cahiers théoriques, revue de référence pour les membres du groupe et le débat critique de ce temps. Tous travaillent à la « déconstruction » du tableau, appréhendé en tant qu'objet. Ils mettent en avant le matérialisme des uvres, l'importance du processus de création et remettent en cause l'idéalisme pictural. Les oeuvres de Dezeuze, comme en témoigne son intervention dans le livre de PAB, L'espace à l'avant, que nous présentons ici, sont composées de matériaux pauvres, hétéroclites et parfois inattendus : treillages, filets à papillons, valises, trombones ici, évacuant la figure. Daniel Dezeuze a réalisé vingt livres d'artiste pour les Éditions de Rivières sur des textes originaux de sa composition, de PAB, René Pons, Gaston Puel, Francine Marc, Claude Minière et Bernard Teulon-Nouailles. Tous sont présentés dans notre catalogue et témoignent du foisonnement de ses recherches plastiques. De toute rareté. Signé par l'auteur.

Hardcover. Condition: Fine. Bone, Muirhead (illustrator). Limited Edition. Old Spain. "A Monumental Work". A two Volume Limited Edition set of 265 sets, signed by the artist and the author, and numbered 192. Muirhead Bone executed 4 drypoints (etchings) of Spanish subjects to accompany this work, comprising 2 large plates and 2 small plates. Each set was issued with a portfolio containing 2 drypoints, 1 large and 1 small. Half the edition contained; 'THE APSE LEON CATHEDRAL' (CD441) (large plate) and 'ROMAN BULL EXCAVATED AT MERIDA' (CD443) (small plate). The remaining half contained; 'JUBILEE YEAR SANTIAGO DE COMPOSTELA' (CD439) (large plate) and 'DANCING AT THE APOSTLES FIESTA SANTIAGO' (CD444) (small plate). This set uniquely contains all 4 signed drypoints which were each printed in an edition of 133. The two large (13 3/4" x 20 1/2") lavishly illustrated Volumes are bound in brown pig-skin and lettered in gold, and are accompanied by a quarter bound pig-skin portfolio to compliment the binding of the two Volumes; although the label on the portfolio lists only 'THE APSE LEON CATHEDRAL' and 'ROMAN BULL EXCAVATED AT MERIDA'. The two Volumes are illustrated with 120 full-page collotype plates including 3 double pages; 34 half-page plates and headpieces, and 27 tail-pieces. The books, portfolio and drypoints are all in exceptionally fine condition and are housed in a custom made solander box. A contemporary report by Country Life on the Exhibition of 'Old Spain' held at the Publishers states, "a great series of etchings that posterity will prize as richly as though Goya had seen with the eyes of Turner." A unique set comprising all 4 signed drypoint etchings undertaken for this magnificent production. Signed By The Author & Artist.

Hardcover. Condition: Very Good. Everett L. Sheldon (illustrator). First Edition. SIGNED BY THE AUTHOR. A unique original book of bound pen-and-ink drawings by a Michigan engineer, who even penned the cover title on this leather-bound graph book with a decorative bar near the top and a small flower device at bottom. 8vo, old brown leather, 20 pages of sketches and text on 120 leaves. includes detailed drawings of mine apparatus and floor plans. There is a rare drawing on page 20 of the James Mine Office Blue Print Machine. All 20 pages have detailed pen-and-ink drawings with accompanying descriptive text. The drawings are well accomplished. covers with some wear, a couple of pages have some marking. A fine and unique piece of Michigan mining history. Signed.

Hardcover. Condition: Sehr gut. Original drawing by Austrian expressionist master Oskar Kokoschka. This highly personal piece features a centaur, executed in pencil. *** The drawing is signed " In zukünftiger Liebe " and the monogram OK *** The drawing appears on the title page of the poetry collection " Die träumenden Knaben und andere Dichtungen " (The Dreaming Boys and Other Poems), published by Galerie Welz, Salzburg, in 1959. *** The page includes a personal dedication from Kokoschka to the renowned German actress Inge Langen (1924 - 2007), reading " für Inge Langen " ( for Inge Langen ) and " in zukünftiger Liebe " ( in future love ) *** The format measures 17 × 12 cm, and the book itself contains a number of beautiful illustrations by Kokoschka *** Oskar Kokoschka (1886 - 1980) was a towering figure of 20th-century expressionism, known for his emotionally charged portraits, dynamic brushwork, and vibrant color palette. Born in Pöchlarn, Austria in 1886, Kokoschka emerged as a central voice in the Viennese avant-garde. His intense, psychologically revealing portraits and expressive style placed him among the leading artists of the German and Austrian expressionist movements *** A staunch critic of fascism, Kokoschka was labeled a degenerate artist by the Nazis in 1937 and forced into exile. He spent time in Prague, England, and Switzerland, ultimately settling in Zurich, where he lived and worked until his death in 1980. His paintings, prints, and writings continue to captivate audiences worldwide. Kokoschkas works are held in major collections including the Museum of Modern Art (New York), Tate Modern (London), and the Leopold Museum (Vienna). ***WORLDWIDE DELIVERYis also offered, providing a seamless acquisition process for international buyers *** CONDITION : in very good condition ***. Signatur des Verfassers.

Softcover. Condition: Sehr gut. Dust Jacket Condition: Sehr gut. Jan Henderikse - Unique - Original Ink Drawing Rare Collector s Item & Art Book ZERO *** A genuine artwork by one of the most influential Dutch artists. This exquisite ink drawing by Jan Henderikse presents a rare opportunity to acquire an original piece from this visionary artist. The work radiates the distinctive power and simplicity that make Henderikse s oeuvre so remarkable ** Art work is professionally presented, floating in a custom-made, double acid-free passe-partout, housed in an exclusive Plexiglass showcase.Can be presented standing or hanging. Case dimensions: approx. 40 × 50 x 4 cm ***Jan Henderikse A Pioneer of the ZERO Movement ** As a co-founder of the Dutch Nul (ZERO) movement, Jan Henderikse is renowned for his ability to transform everyday objects and concepts into art. This drawing exemplifies his signature style minimalist, intriguing, and infused with playful energy, making his work instantly recognizable. Although best known for his large-scale installations and assemblages, this smaller piece highlights his mastery of subtlety and precision, proving that simplicity can also be profound. Plus: ## ART BOOK ZERO ## A comprehensive 560-page art book published on the occasion of two major ZERO exhibitions: Size: 25.5 x 25 cm. Softcover with red transparent dust jacket. Features numerous ZERO artists and images. Published by Walther König, Cologne, 2015. This rare collector s set offers an exceptional opportunity to own a unique ink drawing by Jan Henderikse, along with an authoritative publication on the ZERO movement, a milestone in post-war avant-garde art. ** Museum-Quality Artwork ** Henderikse s innovative approach to conceptual art and assemblage has left a lasting impact on the post-war avant-garde art scene. His works, often composed of found materials and everyday objects, are part of major museum and private collections worldwide, including Stedelijk Museum, Amsterdam and Guggenheim Museum, New York. With this drawing, you are acquiring a museum-quality piece, a valuable addition to any collection of contemporary and ZERO art *** SHIPPING : Worldwide shipping available ## # CONDITION : artwork and book are in very good condition ***. Signatur des Verfassers.

Couverture souple. Condition: Très bon. Edition originale. Daniel Dezeuze, Marelle, poème de Daniel Dezeuze, illustré d'un dessin original sur Canson noir de l'artiste, Rivières Sète, mai 2006, couverture blanche imprimée à rabats, en feuilles, 8 double f., 18,6x13,6cm + emboîtage éditeur. XII exemplaires. Exemplaire III/XII signé par l'artiste au colophon. Papier d'Arches. Édition originale. Il s'agit du 482e livre imprimé par les Éditions de Rivières initiées en 2002 par Jean-Paul Martin, petit cousin de Pierre André Benoit, dans la continuité de la philosophie éditoriale de l'artiste alésien, et le 3e de Daniel Dezeuze chez cet éditeur, le 2e en tant qu'auteur et illustrateur. Magnifique poème et dessin original de Daniel Dezeuze sur Canson noir. Extrait : « Essaims d'aurore, fourmillement de palets, jalons à la craie des marelles : nous voilà partis à cloche-pied vers des hors-jeux certains ou vers ce grand écart pour choir en case CIEL. » Né en 1942 à Alès, dans le Gard, Daniel Dezeuze passe sa jeunesse à Montpellier où il étudie à l'école des Beaux-Arts. Entre 1961 et 1967, il voyage au Canada, au Mexique et aux Etats-Unis où il découvre les uvres des peintres abstraits de l'après-guerre ainsi que les cultures indienne et nomade. De retour en France, il s'installe à Paris et démarre alors sa véritable carrière artistique avec la série des Châssis, qui témoigne d'une recherche commune aux démarches plastiques de l'époque, à savoir la déconstruction des supports et des matériaux traditionnels de la peinture. À partir de 1968, il est l'un des fondateurs du groupe Supports/Surfaces et il crée l'année suivante avec Vincent Bioulès, Louis Cane et Marc Devade la revue Peinture, Cahiers théoriques, revue de référence pour les membres du groupe et le débat critique de ce temps. Tous travaillent à la « déconstruction » du tableau, appréhendé en tant qu'objet. Ils mettent en avant le matérialisme des uvres, l'importance du processus de création et remettent en cause l'idéalisme pictural. Les oeuvres de Dezeuze, comme en témoigne son intervention dans le livre de PAB, L'espace à l'avant, que nous présentons ici, sont composées de matériaux pauvres, hétéroclites et parfois inattendus : treillages, filets à papillons, valises, trombones ici, évacuant la figure. Daniel Dezeuze a réalisé vingt livres d'artiste pour les Éditions de Rivières sur des textes originaux de sa composition, de PAB, René Pons, Gaston Puel, Francine Marc, Claude Minière et Bernard Teulon-Nouailles. Tous sont présentés dans notre catalogue et témoignent du foisonnement de ses recherches plastiques. De toute rareté. Signé par l'auteur.

Verschiedene Formate. Sehr gut erhalten. Alle gerahmt in säurefreien Passepartouts. Provenienz: Familie Hesse. Sehr seltene Sammlung von Original Fotografien und Reproduktionen. AE1 Hermann Hesse bekommt eine Urkunde überreicht. 13 x 18 cm. AE2 Hesse in Montagnola am Schreibtisch ein Aquarell malend, ggf. die Vignette für Piktors Verwandlung. 18 x 13 cm. - Original Abzug AE3 Hesse nach links blickend. Fotografie von Martin Hesse, 1946. 18 x 12,7 cm. Original Abzug. AE4 Spaziergang am Luganer See, mit seiner Schwiegertochter. ca 1952. Original Abzug, Studio Seeger Albstadt AE5 Der Großvater von Hermann Hesse, Hermann Hesse von Weissenstein, 94jährig mit seiner 3. Frau Adele und Töchtern. 18 x13 cm. AE6 Hermann Hesse in seiner Bibliothek in Montagnola. 18 x 12,5 cm AE7 Hermann Hesse und Theodor Heuss in Sils Maria, Schweiz, 1957 - Original-Abzug, Archiv Plattner, St. Moritz AE8 Hermann Hesse, Boule spielend mit seiner Frau Ninon (Dolbin)-Hesse vermutlich 1952, Original Abzug von Martin Hesse AE9 Hermann Hesse. nach rechts blickend, auf Karton montiert, von Hermann Hesse eigenhändig in Tinte signiert, um 1903/1904. Original Abzug von Maria Bernouilli (1868-1963) - sehr selten.

Hardcover. 1st Edition. 1st Edition. Hardcover. First Edition ALCOOLS [Apollinaire, Guillaume]. Signed by Robert West on the Illustration page in full as well on each of the 20 watercolour artworks. Size: 6 3/4" x 10" No markings. Red snake skin, gilt stamped title on the front as well as the incredibly dynamic front and back gold block stamping. Patterned red, black and brown decorative endpapers with the bindery label of René Kieffer Reliures. A fine example of this handsome collection of hand-lettered poems by Guillaume Apollinaire, [first published in 1913 which is considered one of the most important works of early 20th-century French literature] in black red and green stamping accompanied by the 20 stunning watercolours of Robert West. A very important work especially so due to the extreme rarity of this edition. Some of the poems that are included: Clotilde, Marizibill, La Blanche Neige, L'Adieu, La Tzigane, Saltimbanques, Claire de Lune, Chantre and more. Full list and photos upon request.

Softcover. Condition: vg-. Small folio. 14 leaves, unpaginated. Hand-made string-bound paper portfolio, in paper wrappers, with calligraphic black German text on the front cover. Housed in a custom tan cloth clamshell box, with a dark brown leather label lettered in gilt on the spine. Signed by the artist on the first leaf. This unique collection is comprised of 26 mounted silver gelatin photographs, showing 20 works by acclaimed Russian sculptor Boris Korolev (Boris Korolyov, 1884-1963), 19 of which he would be exhibiting at the Erste Russische Kunstaustellung (The First Russian Art Exhibition) in Berlin in 1922. The exhibition was historically important in that it was first show devoted to Russian art to be presented in Western Europe in the years since the Russian revolution. The exhibition opened on Sunday, October 15, 1922, at the Gallery van Diemen, showing more than 700 works by 167 artists. The show was organized by the International Bureau of the Soviet People's Commissariat for Education under the auspices of David Sterenberg, Naum Gabo, and Nathan Altman, and was scheduled to run for one month, but due to the positive response by press and a large number of visitors was extended until the end of the year. The architect Adolf Behne described it as the "boldest and most extensive exhibition of creative production" that has been seen in Berlin in years. While it was originally scheduled to travel to various European capitols, the French government refused to give permission for an exhibition in Paris. Subsequently the exhibition was only shown in the Stedelijk Museum in Amsterdam in the Spring of the following year. Retrospectively the event has been seen as an important moment in the history 20th century art, which highlighted the significant Russian contributions to modern art. The first photograph is a portrait of the sculptor, with his signature below. Most of the heavy stock paper leaves contain a photograph mounted on both the rector and the verso (a few leaves are single sided only). All of the photographs, which range in size from 5 1/2 x 3 1/2 to 7 x 9 1/2", are captioned below in hand-written Cyrillic text in ink. The captions contain the title of the piece, the year of it's completion, medium used, and in some cases the name of the museum where the work was held at the time. All of the 20 individual works shown here, mostly sculpture and few sketches, were produced by the artist between 1915 and 1920. Some prints are mat, and some are glossy (some with oxidation to corners). This collection of images is significant in that it documents, in-part, Korolev's short-lived but notable cubist period (ca.1918-1923). Many of these early works in Korolev's career no longer survive, including his notorious monument to revolutionary Mikhail Bakunin, which stood for only a few months in Moscow's Turgenev Square before it was officially removed. Images of both his small scale mockup design sculpture, and the full scale monument standing in Moscow are included. This controversial design has since been acclaimed as an important moment in the history of Russian sculpture. Also shown is Korolev's even more radical cubist design for a proposed statue of Karl Marx, which was ultimately rejected in favor of a more traditional design by Georghe Lavrov (1895-1991), and erected in 1919. The final three photographs included show cubist drawings and sketches, including the artist's interesting design for the facade of the Project of the Central City Public Building, in Moscow. These and many of Korolev's other works from this period were ultimately deemed to be too experimental for even Soviet sensibilities during this early period, which was concerned with defining a new Soviet artistic identity. After the negative reception and controversy surrounding many of these works, he switched to a more realistic style, which was in line with Soviet authorities. Wrappers with minor to light stains, age toning and creasing, as well as some light rubbing to extremities. Spine of the wrappers has been re-backed and restored. Interior relatively clean, save for some minor age toning to leaves, and some oxidizing to the edges of some of the photographs. String-tied binding still holding tight. In very good- condition all things considered. Provenance: The work was originally part of the collection of Russian-French architect and artist Nikolay Istselennov (1891-1981). Istselennov lived in Berlin between 1921-1924, and was a prominent figure in the Russian artistic community there, becoming a member of the council of the "House of Arts", an organization of expatriate artists and writers. It is unclear weather Korolev himself assembled the work for his own personal documentation, to present as a gift, or whether it was assembled by a third party to show Korolev's work.

Couverture souple. Condition: Très bon. Edition originale. "Il parle de l'amour, mais en connaissance de cause, car il a beaucoup aimé et beaucoup été aimé." Sacha Guitry à propos de Paul Géraldy. LE PLUS BEL EXEMPLAIRE QUI SOIT SUR JAPON MOIRANS / CELUI DE L'ÉDITEUR MAURICE GONON / ABSOLUMENT UNIQUE / AVEC ENVOI AUTOGRAPHE DE L'AUTEUR / DESSIN ORIGINAL ET ENVOI DE L'ARTISTE. Paul Géraldy, L'Amour, illustrations de Georges Lepape, Paris, Éditions de l'Île de France, 1945, 133 p., 19x14 cm, broché + étui et emboîtage de l'éditeur. Exemplaire sur papier japon Moirans (tirage de tête), non coupé, en parfaite condition. Étui et emboîtage de l'éditeur passés et tachés. Ce livre, réalisé sous le direction de Maurice Gonon, a été tiré à 3500 exemplaires dont 95 sur japon Moirans, numérotés de 1 à 95 ; 905 exemplaires sur pur chiffon, numérotés de 96 à 1000 ; 2500 exemplaires sur vélin fin numérotés de 1001 à 3500 ; en outre quelques exemplaires hors commerce réservés aux collaborateurs. Les illustrations de Georges Lepape ont été reproduites en couleurs par Louis Mansat, à Paris. Achevé d'imprimer le 1er septembre 1945, sur les presses de Curial-Archereau, Albert Humbert étant directeur. Exemplaire hors commerce sur le plus beau des papiers celui du tirage de tête sur japon Moirans réservé à l'éditeur Maurice Gonon L'exemplaire est en plus sublimé par un magnifique envoi autographe signé de l'auteur, Paul Géraldy (1885-1983), à l'éditeur du livre, Maurice Gonon : "Pour Maurice Gonon, qui a ressuscité ce livre et l'a revêtu d'un costume de féérie, avec l'applaudissement et l'amitié ravie de Paul Géraldy" Et pour couronner le tout, l'exemplaire porte un superbe envoi de l'artiste, Georges Lepape (1887-1971), à Maurice Gonon, enluminé d'un dessin original au crayon gris à pleine page représentant un envoutant profil de femme avec fleurs dans les cheveux levant les yeux vers un arc avec carquois et flèches d'amour : "Pour Maurice Gonon, dont l'amour de "l'Amour" m'a donné la joie d'orner le beau texte de Géraldy, et en toute amitié Georges Lepape" Si l'oeuvre du poète et dramaturge Paul Géraldy est complètement tombée dans l'oubli aujourd'hui, hormis pour les quelques parents qui voient encore leurs bambins revenir de l'école primaire avec l'un de ses poèmes à apprendre dans le cadre de la traditionnelle récitation , le manuel de séduction et de la vie de couple, de l'adolescence à la vieillesse, que constitue L'Amour, lui aussi quelque peu désuet, n'en demeure pas moins le signe et le témoignage des moeurs des années folles, entre les deux conflits mondiaux, puisque le livre a paru en édition originale chez Hachette, en 1929 [nous proposons par ailleurs à la vente l'exemplaire personnel de l'éditeur Maurice Gonon, entièrement retravaillé par Paul Géraldy, au crayon, pour préparer l'édition illustrée par Lepape]. Il ne fallait pas moins que les décors de féérie de l'illustrateur, affichiste et dessinateur de mode des années 30, Georges Lepape, dont les créations pour L'Oiseau bleu de Maeterlinck sont restées dans les annales, pour sublimer ces "notes et maximes" sur l'amour, de dessins à pleine page, culs-de-lampe, lettrines. Magnifique exemplaire en parfaite condition, absolument unique, fort désirable. Envoi soigné, assuré. Livraison en main propre possible sous condition. Signé par l'auteur.

Dust Jacket Condition: dj. First Edition. First Edition. Quarto. SIGNED and dated (2014) by the artist to title page. Originally published on the occasion of the exhibition "Jordan Wolfson: Raspberry Poser" at the REDCAT Gallery in Los Angeles (Dec. 2, 2012 - Jan. 27, 2013); this copy was later reworked by Wolfson, with an intervention to the jacket featuring applied bumper stickers and marker illustration. The copy further featuring a full-page marker drawing from Wolfson to colophon page and an embellishment to the frontispiece portrait. Green cloth boards with blind-stamped design; fine in a fine jacket. Signed.