• Aanwinsten december 2016
• Aanwinsten november 2016
• Aanwinsten oktober 2016
• Aanwinsten september 2016
• Aanwinsten augustus 2016
• Aanwinsten juli 2016
• Aanwinsten juni 2016
• Aanwinsten mei 2016
• Aanwinsten april 2016
• Aanwinsten maart 2016
• Aanwinsten februari 2016
• Aanwinsten januari 2016

Aanwinsten december 2016

Das aufs neue wohl zu bereitete Dinten-Faß, : erste Fortseßung oder: Anweisung, wie man gute schwarße, buntfärbige, auch andere curieuse Dinten auff mancherley Weise zubereiten; auch wie man Gold, Silber und andern Metallen aus der Feder auff Pappier, Pergament und andere Dinge schreiben solle : nebst verschiedenen zur Schreiberey gehörigen, nöthigen und nüßlichen Stücken / Tobias Eisler.

Franckfurth und Leipzig : Crossen, 1733. 4 Tom. 2. vierter Abdruck. 48 pages ; 18 cm.
Practically unknown second volume of the “Dinten-Fass” (also “Tinten-Fass”), published in several editions, both in Helmstädt and with the present publishing house. In addition to other recipes for the production of inks, the book is concerned with the production of writing-pens, the best posture for writing, various sealing waxes and its production. The author Tobias Eisler (1683-1753) came from Nuremberg and was the son of a gold worker.

Surinaamsche mengelpoëzy / van Paul François Roos (1751-1805); [engraved title and vignet by Rein Vinkeles]

Amsterdam : H. Gartman en P.J. Uylenbroek, 1804. VIII, 318 p. ; 24 cm.
One of the earliest poetic descriptions of life in Suriname. About 60 poems about the country and the people, but also about slavery and the plantations De jonge Byekorf, Ma Retraite, Annaszorg, Spieringszorg and Berg and Daal. Paul François Roos, the first poet of Suriname, was himself director of the plantation De jonge Byekorf near the Commewijnerivier. This volume also contains a poem on the death of George Washington.
Engraved title and vignette by Rein Vinkeles.

Die Kunst durchsichtiges Porzellan und weißes Steingut mit durchsichtiger Glasur anzufertigen : nebst einer gründlichen Anleitung zur Erbauung der einfachsten und vortheilhaftesten Massenmühlen, Schlemmerei, Massenkochöfen, Brennöfen und Abrehmaschinen sowie einer ausführlichen Abhandlung über die Laboration der Mineralfarben für Porzellan-, Steingut- und Glasmalerei, mit der nöthigen Anweisung zur Erbauung der zum Einschmelzen angewandten Holz- und Kohlemuffeln / nach praktischer Erfahrung bearbeitet von Ludwig Friedrich Schumann.

Weimar : Bernh. Friedr. Voigt, 1835. ix, 288 pages, 9 pages plates : “mit 9 lithographirten Tafeln und 1 Portrait”; 18 cm.
The beautiful frontispice with Johann Friedrich Boettiger (1682-1719), inventor of European porcelain.

Rijkshuistelefonen met lijnkiezertoestellen / ontw. Vilmos Huszár (1884-1960)

[The Hague?] : P.T.T., [1935?]. 8 unnumbered pages : ill. ; 15 x 21 cm.
The Hungarian-Dutch painter, draftsman, sculptor, advertising designer and graphic designer Vilmos Huszar is best known as a member of the art movement De Stijl. In an article entitled “Advertising as art” in the architectural weekly Architectura (Bouwkundig Weekblad Architectura) 1929 Huszar argues that advertising can be counted as one of the youngest arts. That’s because the modern art concept of the concept art for art’s sake is completely left behind. Advertising contracts defended by noting that he “just on the street […] the great crowd, most of which never go to […] museums” could reach. This very graphically designed advertising brochure for the new telephones of PTT from about 1935 has not been previously encountered.

Almanach d’architecture moderne : documents, théorie, pronostics, histoire, petites histoires, dates, propos standarts, apologie et idéalisation du standart, organisation, industrialisation du bâtiment, 172 clichés, 200 pages / la rédaction de cet almanach est faite par Le Corbusier (1887-1965)

Exposition internationale des arts décoratifs et industriels modernes (1925 : Paris, France).
Series: Collection de “L’Esprit nouveau”. Paris : G. Crès et cie, [1925]. 199 p. : ill. (incl. plans) ; 25 cm.
Documents Le Corbusier’s L’Esprit Nouveau Pavillon at the Expo Paris 1925 : ‘Si dans cet almanach, il est beaucoup parlé du Pavillon de L’Esprit Nouveau, c’est que ce volume est à vrai dire, le Livre d’Or de ce pavillon’. In addition Le Corbusier discusses Le Plan Voisin.

Ligna.

[Prague?] : [Ligna] ; [ca.1960]. 34 p. : ill.; 30 cm.
Fine trade catalogue of Ligna Bentwood Furniture following in the footsteps of Thonet. Including interiors designed by J. Hesoun, and the interior of the Hotel Nationaal at Venlo, Netherlands.

Aanwinsten november 2016

In the following three books, bound together in one volume, we see two generations at work. Johann Daniel Preissler (1686-1737) had a renowned career, including as head of the highly successful Nurnberg art school, where he trained his four sons, including the two represented here: Georg Martin (1700-1754) and Johann Justin (1698-1771) who followed in their turns as Director of the Akademie der Bildende Künste, Nürnberg.

Anleitung zu Laub- und Blumen-Rissen / Johann Daniel Preissler (1686-1737) inv., Georg Martin Preisler (1700-1754) sc. et exc.

[S.l., ca. 1730]. 18 Bl. : Ill. ; 25 cm.
Primarily botanical, each plate guides the tyro from the simplest outlines of leaves and blooms through intermediate steps to complex finished proposals, built up from dozens of individual elements.

Anleitung zu Croteschen Schild und andern Verzierungen wie solche leicht und accorat nachzuzeichnen / inventiert u. gezeichnet von Johann Daniel Preislern (1686-1737).

[S.l.], [ca. 1730]. 14 Bl. ; Ill. ; 25 cm.
More focused on the decoration suitable for objects of domestic use in a wealthy household, this suite shows designs in two states, initial and complete. The patterns themselves are rich in whimsy – birds, fish scales, grotesques, crowns, strapwork, American Indians, vases, finials, swags, torches, fruit.

Allerhand neu erfundene Comperts / Nicht allein Ingenieurs, Architectis, und Zeichnern; sondern auch Bild-hauern, Kupfferstechern Holz- und Form-schneidern, auch andern Künstlern, in mancherley Fällen zum Vorspiel als nutzlichen Gebrauch inventirt gezeichnet und in Kupffer gebracht von Johann Justin Preissler (1698-1771).

Nürnb: bey ihme [Johann Justin Preissler] zu finden, A 1743. Erste Ausgabe. 6 Blätter Bildtafeln (5 Blätter Bildtafeln, 1 ungezähltes Blatt Bildtafel) ; 25 cm.
Rococo designs for outdoorsmen – soldiers, seamen (commercial and military), horticulturists (trees and flowers), farmers, herders, vintners, beekeepers, bird catchers, hunters and fishermen.

Der Fleckausbringer : oder: Vollkommener Unterricht Flecken aus Seide, Tuch, Wolle, Sammet und Leinen zu bringen … und überhaupt alle nur immer der Beschmutzung unterworfene Gegenstände zu reinigen.

Wien : bey Anton Pichler, 1803. 128, viii p. ; 17 cm.
The volume describes not only the elimination of different spots, but also how to clean gold, silver, precious stones, brass, glass etc. in various ways and to dye textiles.

Vollständiges Handbuch für Juweliere, Gold-, Silber- und Schmuckarbeiter : enthaltend: eine ausführliche Beschreibung der physischen und chemischen Charaktere der edlen Metalle, die neuesten französischen … Methoden der Feinmachung, Scheidung und Probirkunst; ferner eine umfassende Beschreibung der Verfertigung und Anwendung der Emaillen, der Mosaik, der alten und neuen Vergoldung … und überhaupt Alles, was sich auf die Theorie und Praxis obengenannter Künstler bezieht / nach den besten und neuesten … Schriften … bearbeitet und herausgegeben von August Bürck.

Ilmenau : B.Fr. Voigt, 1834. XX, 561 p. : ill. ; 19 cm.
Series: Neuer Schauplatz der Künste und Handwerke ; Bd. 63.
Only edition of this handbook. With detailed descriptions of the physical and chemical properties of the precious metals, the production and application of enamels, plating, gold colors and extensive chapters on pearls and precious stones. Apart from tools and machines, the plates also show the designs and ornaments of silver and gold products, as well as the different methods of cutting and polishing precious stones.

Katechismus der Photographie : oder Anleitung zur Erzeugung photographischer Bilder / von Julius Schnauß.

Leipzig : Verlagsbuchhandlung von J.J. Weber, 1876. Dritte, vermehrte und verbesserte Auflage. x, 176 p. : mit 30 in den Text gedruckten Abbildungen ; 18 cm.
Schnauss (1827-95) founded the first photographic technical school in Germany and was co-founder of the “general German photographer’s association” (allgemeinen deutschen Photographen-Vereins). He played a major role in the development of photography in Germany.

Handbuch der Metalldekorierung oder das Dekorieren und Verfeinern der Metallwaren, des Glases, Porzellans und der Gewebe im Feuer, sowie auf chemischem und galvanischem Wege / Emil Tscheuschner.

Weimar : Voigt, 1883. 5. Aufl. / in vollst. Neubearb. hrsg. von E. Tscheuschner. XX, 222 S. : ill. ; 23 cm.
Series: Neuer Schauplatz der Künste und Handwerke ; 133.
The first half describes the different methods of gilding. In the second half the application of various metals is described as well as the coloring of the metals.

Photo pêle-mêle pour tous, par tous : revue photographique illustrée.

Paris : [Impr. G. Richard, 1903-1907]. v. : ill. ; 31-33 cm.
Holdings: 1re ann., no. 1 (4 juillet 1903) – 2e ann., no. 79 (31 Déc. 1904).
Early French photo weekly, with interesting articles and profusely illustrated, including a few early photomontages.

Farbenphotographie : eine Sammlung von Aufnahmen in natürlichen Farben / hrsg. von Fritz Schmidt.

Leipzig : E.A. Seemann, [1912-1913]. 12 Hefte : 60 Tafeln ; 35 cm.
Mit 60 auf schwarzen Kartons montierten und durch vorgebundene Trennseiden geschützten Tafeln, darauf Wiedergaben von Autochromien im Dreifarbendruck, sowie 48 farbigen Textabbildungen. Originale schwarze Verlagsbroschuren mit illustriertem hellgrauem Umschlagtitel, in Fadenheftung nach Blockbuchart.
As early as 1839, when the invention of photography in the form of the daguerreotypes of the Frenchman Louis Daguerre was officially presented in Paris, one dreamed of “shots in natural colors”, but had to be content with the black and white picture for a long time. The practical color photography began with autochromes, a process presented by the brothers Lumière in 1907 for the production of colored photographs in the form of glass slides. Despite the stupendous reproduction quality, the autochrome process was ultimately not successful due to high production costs and long exposure times and was replaced by the three-color Agfacolor and Kodakchrome films from the 1930s onwards. This early publication on the subject of autochrome consists of three-color prints of the selected autochromes of the natural and fresh-colored originals from various professional and amateur photographers from Germany, Austria-Hungary, Switzerland and the Netherlands. The editor Fritz Schmidt, professor at the Technical University in Karlsruhe, mentioned the brilliant technical execution of these reproductions in the final remark. The 12 booklets (“Hefte”) published by the Leipzig publishing company Seemann in 1912-1913, titled “Farb-photographie – a collection of photographs in natural colors”, showed exemplary photographs from far more than 5,000 pictures submitted by photographers, of which 7 from the Lyon atelier of the Lumières.

Catalogus van de werken uitgegeven door Scheltema & Holkema’s boekhandel te Amsterdam en verzorgd door K. Groesbeek, 1882, januari, 1922 / samengest. en gedrukt door C.J.A. Hijner.

[Hilversum : C.J.A. Hijner], 1922-1923 [i.e. 1923]. 95 p., [77] bl. pl. : ill. ; 32 cm.
Catalog of works published by Scheltema & Holkema’s bookstore in Amsterdam.
This exceptionally luxury publication for which many bookbinding stamps were specially printed on paper by C.J.A. Hijner, employee of the bookselling and publishing firm Scheltema & Holkema, was dedicated to the director, Klaas Groesbeek, on the occasion of the 40 year anniversary of the company.
This book includes the earliest two photographs (pasted originals) of the company settlement at Rokin, around 1900 or 1911/12. It also contains all the book illustrations by the famous Dutch artists G. W. Dijsselhof, Th. Nieuwenhuis, L.W.R. Wenckebach, the stamping of the luxury portfolio of Rembrandt exhibitions, the print series “Akedysséril” by Marius Bauer, and the Rembrandt Bible illustrations by C.A. Lion Cachet. In addition, the book contains the different types of decorative paper produced by Lion Cachet, Nieuwenhuis and Dijsselhof. The Rijksmuseum library already owned the second volume, which was printed in nine copies in 1932. The finding of this first part is very special, especially considering the very limited edition of eight copies.

Aanwinsten september – oktober 2016

Waare oeffening der planten, waar in de rechte aart, natuire, en verborgene eigenschappen der boomen, heesteren, kruiden, ende bloemen … / Beschreeven door Abrahamus Munting.

T’ Amsterdam : voor Jan Rieuwertsz., 1672. 652 p. : ill. ; 21 cm.
Abraham Munting (1626-1683) was the son of Hendrik Munting, who had founded in 1642 a botanical garden situated within the fortification circuit of Groningen known as the ‘Paradise of Groningen’, with its hothouses and forcing frames. It was famous throughout Europe and a place of horticultural pilgrimage. His son, Abraham, director of the garden from 1658, greatly enlarged the garden. The ‘Waare oeffening der Planten’ describes to a large extend trees and plants of the garden.

Principes abrégés de peinture / par M. Mich. Fr. Dutens.

Tours : de l’Imprimerie d’Auguste Vauquer, 1779. 116 p. ; 18 cm.
Michel François Dutens, 1732-1804.

Peinture sur porcelaine, sur verre et cristaux : procédés de la manufacture royale de Sèvres, suivie de la peinture orientale, ou l’art de peindre sur papier, mousseline, velours, bois, etc., et de décalquer sur verre / Desloges.

Paris : Desloges, [1847?]. Troisième éd., augmentée. 31, [5] pages : illustrations ; 17 cm.
Variant title: Peinture orientale, ou l’Art de peindre sur papier, mousseline, velours, bois, pocelaine, verre et cristaux, et de décalquer sur verre.

Suck : first European sexpaper.

London : BCM/Joy, 1969 (no. 1, Oct.) – 1973 (no. 8) ; 1972 (Special issue). v. ; 44 cm.
Dutch underground magazine, containing explicit photographs and texts, drawings and comics of an obscene nature. A totally new sex publication, initiated by William Levy (pseudonym William Cooney Laides), Jim Hasynes, Heathcote Williams, Germaine Greer, together with Willem de Ridder (pseudonym Wilhelm Reider; Aloha, Amsterdam) and Susan Janssen. Texts in English; contribs. by Alex Gross, Alex Trocchi, Ed v.d. Elsken, Anna Beeke, Wolinski, Robert Crumb, Günther Brus, Otto Muehl, Joop Wilhelmus, Max Natkiel, Germaine Greer, Willem de Ridder, William Burroughs, Theo van den Boogaard. and others. Together with the important special 1972 issue, The Virgin Sperm Dancer, written by Wlliam Levy and designed by Anthon Beeke. Very explicitly illustrated and with the following text on the final page: “Final instructions: This is not a work of fiction or of one man. Keep your eye on it’s bi-unity. I am smiling now. But if you don’t think my story marvellous and you should happen to meet me, kindly pass as though we don’t know each other. Moral: “At the moment of coitus all men are one man!”.

Hommage aan Albin Brunovský / [tekst] Ivan Panenka, [etsen] Dušan Kállay ; vert. uit het Slowaaks door A. van Dijk-Pražáková / Ivan Panenka.

Baarn : Arethusa Pers Herber Blokland, 1985. [24] p. : ill. ; 27 cm.
Suite of 10 engravings by Dusan Kállay (1948). Published on the occasion of the 50th birthday of Albin Brunovsky (1935-1997) in 50 copies.

Aanwinsten augustus 2016

Der selbst-lehrenden Laccir- u. Fürniss-Künste Anderer Theil : Darinnen auf das beste und deutlichste angewiesen werden I. Die schöne Illuminir-Kunst, wie solche von sich selbsten zu begreiffen. II. Von Kupffer-Stechen und ungemeinen Ertz-Künsten. III. Von schöner Glas-Mahlerey, vom Gips-Giessen, ungemeinen Fürnissen und Form-Künsten. IV. Von Türckischem Papier-Machen und unterschiedlichen Wax-Künsten. V. Von schönen Farb-Künsten, und ungemeinen Leder- und Pergament-Arbeiten, und andern Dingen mehr ; Ein Werck, so vielen Kunst-Liebenden sehr nutzlich und anständig ; Mit grosser Müh und Fleiß von vielen Jahren zusammen getragen, und jetzt auf vieler Begehren zum Druck verfertiget /
Durch einen sonderbaren Liebhaber natürlicher Künst und Wissenschaften.

Nürnberg : Joh. Christoph Lochner : 1707. 392 S. ; 17 cm.
An early 18th-century book of secrets, on inks, paints, calligraphy, gold and silverplating, colors for painting miniatures in books, and many more recipes for artists. Part II on dying cloth, leather, etc.

Neu-entdeckte Lacqvir-Kunst oder Gründliche Anweisung, Wie man nicht nur unterschiedliche bissher geheim gehaltene kostbare Lacquen, Insonderheit den so genannten Eisen- und raren weissen Lacque ohne grosse Mühe und Unkosten verfertigen, Sondern auch den biss ietzo unbekanten Gummi Copal leichtlich und bald aufflösen könne : Nebst einem Anhange unterschiedlicher curieuser und nützlicher Kunst-Stücke /heraus gegeben von einem Curiosorum Experimentorum Amatore.

Leipzig : Zufinden bey Andreas Zeidlern, 1708. 144 Seiten ; 17 cm.
Bildet 2. Theil zu: Grund-mässige und sehr deutliche Anweisung, zu der Schönen Laccir- und Schildkrotten-Arbeit …
Rare first edition of this work probably written by Caroline Kochertaler, according to Ulrich Schiessl (Die deutschsprachige Literatuur zu Werkstoffen und Techniken der Malerei von 1530 bis ca. 1950).

Der wohl-erfahrne Seiffen-Sieder und Kertzen- oder Liechter-Zieher : Welcher In diesem neu-heraus-gegebenen Tractätlein gründlich und ausführlich lehret und anzeiget unterschiedliche bewährte und wohl-eintragende Wissenschafften: Als Erstlichen: Auff vielerley Arten, sowohl gute Hauss- und Wasch- als andere erdenckliche Seiffen zu sieden und zu bereiten. 2. Krafft- und Stärck-Mehl auff das beste zu machen. 3. Den Flachs wie die schönste Seiden zuzurichten. 4. Die Leinwand in kurtzer Zeit auff das schönste zu bleichen. 5. Das Wachs Schnee-weiss, gut und beständig zu bleichen. 6. Sonderbahre ungemeine schön- hell- und lang-brennende Wachs- und Unschlit-Kertzen zu giessen. 7. Alten in der Farb verblichenen Sammet, seidenen Zeug, Tücher und Gewand ihre verlohrne Farbe wieder zu recht zu richten. 8. Allerhand fette Flecken aus den Kleidern zu bringen ; Ein Werck aus langwieriger Praxis mit Mühe und Fleiss zusam[m]en gebracht, und nunmehro allen Liebhabern zum besten heraus gegeben / von einem sonderbaren Liebhaber der Oeconomischen Wissenschafften.

Regensburg : Sebastian Bruggmayer, 1708. [7] Bl., 128 S. ; 17 cm.
Besides the techniques for making soap and candles, the book describes how to clean textile and to remove stains.

Neues Handbuch vor Künstler auf alle fast nur erdenkliche Fälle eingerichtet /
aus dem Französischen übersetzet.

Bamberg ; bey Tobias Göbhardt, 1765. 2 delen : illustraties ; 18 cm.
Rare and curious book on prescriptions, formulae, receipts, etc. for artists and economists with chapter on silver, gold, glass metals, camera obscura, barometers, inks, colors, how to preserve mummies and natural history objects, etc. The work claims to be a translation from the french, but it could be that it is just a publisher trick to sell the book better.

Secrets concernant les arts et métiers : ouvrage utile, non-seulement aux artistes, mais encore à ceux que les emploient.

Paris : Moutard, 1790. 4 volumes ; 18 cm.
A comprehensive book of secrets for the artist and tradesman in a contemporary binding.
With the armorial book-plate of Sir John E. Swinburne, Bart., Capheaton.

The painter, gilder, and varnisher’s companion : containing rules and regulations in every thing relating to the arts of painting, gilding, varnishing, and glass-staining : numerous useful and valuable receipts; tests for the detection of adulteration in oils, colours, &c., and a statement of the diseases and accidents to which painters, gilders, and varnishers are particularly liable; with the simplest and best methods of prevention and remedy.

Philadelphia : H.C. Baird, 1861. 8th ed. to which are added complete instructions in graining, marbling, sign-writing, and gilding on glass. 216 pages : illustrations ; 18 cm.
Originally published in London in 1826 under title: Painter’s and Varnisher’s Pocket Manual.

Anatomie artistique du corps humain / planches par le Dr Fau ; texte avec figures par Édouard Cuyer,….

Paris : J.-B. Baillière et fils, 1908. 5e édition. 208 p. : ill. ; 23 cm.
Very popular anatomy book for artists, first published in 1886.

Metropolis / door de Persafdeeling der UFA ; Holl. tekst-bewerking Max de Haas.

[Berlin : BUKWA], [1927]. [32] p. : ill. ; 25 cm.
Paper cover illustration designed by Werner Graul, based on the poster for the movie Metropolis.
Special Dutch language edition of: UFA-Magazin, 1927 to accompany the movie directed by Fritz Lang.

Paper hanging : a practical manual for the use of instructors, students and craftsmen / by W.H. Cantrill and W.G. Sutherland.

Manchester : Sutherland, [1927]. vii, 132 pages : illustrations ; 16 cm.

Metz en Co : meubelen behagelijk sierlijk duurzaam prijs.

Amsterdam : Metz, [1933/34?]. 24 pages : illustrations ; 27 cm.
Paper cover with an illustration designed by J. Makowsky.
Metz & Co was a department store in Amsterdam, The Netherlands, founded in 1740 which closed in 2013. Very rare catalogue, with tubular furniture designed by Gerrit Rietveld early 1930’s.

Aanwinsten juli 2016

Maniere universelle de Mr. Desargues, pour pratiquer la perspective par petit-pied, comme le geometral : ensemble les places et proportions des fortes & foibles touches, teintes ou couleurs / par Abraham Bosse.

A Paris : De l’imprimerie de Pierre Des-Hayes, MDCXLVIII [1648]. [16], 168, [2] p., 173-184 columns, 169-176, 193-342 p., [163] plates (1 folded) : ill., port. (engravings) ; 22 cm.
Important instruction book inspired by the founder of perspective geometry Girard Desargues (Lyon 1591 – 1661) and intended to gradually learn the subtleties of perspective by the understanding of mathematics. Part one also contains some pages for the shadow and shade, the second part is dedicated among others to the prospect of irregular surfaces and the third to the Treaty of Perspective by Desargues (original edition 1636) as well as additions that he has probably written. Complete with all 163 engravings including the allegorical frontispiece portrait of the dedicatee Michel Larcher (often lacking) and a dedication engraved with his coat of arms, title frontispiece dated 1647, and 156 technical plates.

Paradossi per pratticare la prospettiva senza saperla : fiori, per facilitare l’intelligenza, frutti, per non operare alla cieca. Cognitioni necessarie à pittori, scultori, architetti, ed à qualunque si diletta di disegno / dat’ in luce da Giulio Troili da Spinlamberto, detto Paradosso.

In Bologna : per Gioseffo Longhi, 1683. [8], 120, [4], 64 p. : 68 ill. ; 32 cm.
Original edition of the third part, and the second edition (ed. orig. 1672) of the first two parts. Illustrated manual with 68 full page educational woodcuts (one repeated), floral borders framing perspective drawings (applied to geometric figures, churches, gardens, pillars , theatrical scenes, fortresses) and with some geometrical patterns in the text. Dedicatee weapons on the first cover page and ornate text initials, borders mainly figurative. Giulio Troili de Spinlamberto (1613-1685) was nicknamed “Il Paradosso” (The Paradox) for his optical illusions.

Algemeen handboek voor kunstenaars, chemisten, fabrikanten en handwerkslieden.

Dordrecht : A. Blussé en zoon, 1802. 155 p. ; 22 cm.
Praktisch handboek, o.a. over het scheiden van goud en zilver, het kleuren van materialen, vuurwerk, verwijderen van vlekken, het brouwen van bier etc.

Perspective linéaire / par G.E. Allais.

Rome : De Romanis, 1820. vi, 42 p., 5 bl. pl. : ill. ; 34 cm.
An extremely rare and important work on perspective, illustrated with 86 figures engraved on copper on 5 large folding plates. Privately printed and distributed in a small circulation for selected friends by the author, a secretary of the Royal French Academy in Rome. With an autograph dedication to the neo-classical painter Jean-Baptiste Wicar (Lille 1762 – 1834 Rome). Ex dono ms. by the author dated Rome 1822. Wicar accompanied Jacques-Louis David in Italy in 1784. After many journeys to Italy, including the Campagne de Bonaparte in 1797, he settled in Rome in 1800 to become a well known portrait painter and art collector.

Dictionnaire général des tissus anciens et modernes : ouvrage oú sont indiquées et classées tous les espèces de tissus connues jusqu’a ce jour soit en France, soit à l’étranger, notamment dans l’Inde, la Chine, etc. : avec l’explication abrégée des moyens de fabrication et l’entente des matières, nature et apprêt, applicable à chaque Tissu en particulier / par Jean Bezon.

Lyon : Imprimerie et lith. de Th. Lépagnez, 1856-1863. 8 tomes. LVIV, 318; 384; 384; 384; 383; 383; 384; 438 p.
Extraordinaire ouvrage, veritable encyclopédie du tissus à travers le monde, l’auteur cite la nom de la quasi totalité des filatures et ateliers annexes de chaque region et chaque pays, avec les spécialités, les techniques, les procédés, les qualities, etc. Finalement, nous avons là un état general du textile mondial à la moitié du XIXe siècle, avec une incroyable precision sur les productions, traditions et commerce local et des appreciations savants sur les diverses qualities produites, quelque soit le type de tissue concerné. A partir du tome 4, une mention probablement fictive de deuxième edition apparait au titre ; le tome 5 est indiqué Paris, Savry mais il est imprimé par Lepagnez, c’est le seul car les suivants sont bien de Lyon, Lepagnez. En 1867, un atlas dessiné par A. Lorrain a été publié à Paris, chez Lacroix, il est absent et fort rare.

Staffiermaler als Maler, Vergolder, Versilberer, Bronzierer, Lackierer und Tapezierer : praktisches Hand- und Hilfsbuch / Jean Félix Watin.

Neuer Schauplatz der Künste und Handwerke; 207. Weimar : Bernhard Friedrich Voigt, 1882. 3. Aufl. in vollständiger Neubearbeitung / hrsg. von R. Tormin. xx, 334 pages ; 22 cm.
Alternative titel: M. Watins Staffiermaler. Translation of: L’art du peintre, doreur et vernisseur. Includes bibliographical references.

Aanwinsten juni 2016

Schön newes Modelbuch, von 500. schönen ausserwehlten Kunstlichen, so wol Italiänischen, Frantzösischen, Niederländischen, Engelländischen, als Teutschen, Mödeln, allen Näterin, Seydenstickern, … zu nutz.

Gedruckt zu Franckfurt am Mayn : durch Sigismundum Latomum, 1612. 75 woodcut plates ; 12 x 15 cm.
Extremely rare and fine pattern book for the use of seamstresses and embroiders, with intricate lace patterns in a Moorsh style but also occasionally featuring human figures, animals and mythological creatures. The leaves of slightly varying sizes: originally the woodcuts were printed more than one per leaf. One plate partly coloured in blue.

L’art de convertir le cuivre rouge ou cuivre de rosette, en laiton ou cuivre jaune : au moyen de la Pierre Calaminaire : de le fondre en tables : de le battre sous le martinet et de le tirer à la filiere / par M. Galon.

Series: Descriptions des arts et metiers.Uitgever: [S.l.] : [s.n.], 1764. 78 p., [12] bl. pl.. : XVIII ill. ; 45 cm. Alternative title: De la fonte et de l’affinage du cuivre et du potin, à Ville-Dieu-les-Poëles en Normandie.

L’art du peintre, doreur, vernisseur : ouvrage utile aux artistes & aux amateurs qui veulent entreprendre de peindre, dorer & vernir toutes sortes de sujets, en bâtitimens, meubles, bijoux, équipages, &c. / par le Sr. Watin, peintre, doreur, vernisseur, & marchand de couleurs, dorures & vernis, à Paris.

A Liege : Chez D. de Boubers, imprimeur-libraire, près du Pons des Arches, à la Vierge Marie, 1778. Nouvelle édition, revue, corrigée & considérablement augmentée. xxvij, [1], 356, 4 p. ; 21 cm.
First published in 1772, this work became a standard work for artists and architects interested in interior decoration and its techniques. Jean-Felix Watin was al well-known ‘merchard de couleurs’. His shop, ‘La Renommée des Couleurs’ opened near the end of the 1740’s. He wasn’t a good writer, but Roch-Henri Prévost de Saint-Lucien put his ideas to paper. The first edition (250 pages) was revised immediately by Grangé and Durand and augmented with an essay of the Jesuit Pierre d’Incarville on Chinese lacquer (“Mémoire sur le vernis de la Chine par le pere d’Incarville … “: pages 310-327).

Nuova raccolta rappresentante i costumi religiosi, civili e militari degli antichi Egiziani, Etruschi, Greci e Romani : tratti dagli antichi monumenti, per uso de professori delle belle arti / disegnata ea incisa in rame Domenico Pronti.

Roma : Il Sud Incisore, [1805?]. 49 bl. pl. : mainly ill. ; 21 x 27 cm.
Contains one engraved title plate, 48 plates and one plan. Based on

Raccolta di cento tavole rappresentanti i costumi religiosi, civili, e militari d’egli antichi Egiziani, Etruschi, Greci e Romani tratti dagli antichi monumenti per uso de professori delle belle arti disegnati, ed incise in rame da Lorenzo Roccheggiani.

Cours élementaire et progressif de paysage / dessiné et lithographié par H. Boisseau.

Paris : Chaillou-Potrelle, [1820?]. 48 plates ; 32 x 49 cm.
Lithographed general title and 48 plates by H. Boisseau each signed on the stone and with lithographed captions.

De teekenkunst in hare bevalligheid, naar hare vaste gronden en regelen voorgesteld in een aantal van voorwerpen, naar het leven genomen; geschetst en opgemaakt ten nutte van min- en meer- gevorderden in de kunst : een teekenboekjen zoo als nog niet is uitgegeven, bevattende: landschappen, watergezichten, zeegezichten, stille waters, scheepen, havens en reeden.

Amsterdam : W. van Vliet, 1820. 19 plates; 20 cm.
Contains 38 engravings on 19 plates whereas the first 13 plates show two identical views – one finished and one reduced to the outlines of the image – the final six plates each contain 2 different finished views.

Praktische Anleitung zur Perspektiv : mit Anwendung auf die Baukunst / von Johann Maria v. Quaglio.

München : Im Verlage der lithographischen Kunst-Anstalt an der Feyertags-Schule, 1823. 2. Aufl. 36 pages : XXX plates ; 53 cm.
Quaglio (1772-1813) erhielt seine Ausbildung in Italien, war danach Hoftheatermaler in München “und trug als solcher viel zum Glanze der Bühne bei” (Nagler). 1803 nahm er die Stelle eines Professors für Zeichen- und Militärbaukunst an der dortigen Militärakademie an. Als einer der Ersten wendet er ab 1806 die neu erfundene Lithographie an.

Uitvoerig onderwijs in de perspectiva of doorzichtkunde, voor alle liefhebbers dezer aangenaame en nuttige wetenschap en inzonderheid voor degenen, die dezelve noodzakelijk dienen te oeffenen : naar eene zeer gemakkelijke en verstaanbaare methode opgesteld, en in 60 konst-platen afgehandeld / door Casper Philips Jacobsz.

Amsterdam : S. de Grebber, 1827. 2e dr. [14], XVI, 127, [1] p., LX bl. pl. : ill. ; 19 cm.

Proeve der werkdadige doorzigtkunde, om voor zich de zamenstellingen te regelen en naar de natuur te teekenen / naar het Fransch [J.-P. Thénot], door C. Kram[m].

Utrecht : gedrukt en te bekomen bij N. van der Monde, 1830. IV, 106 p. : ill. ; 23 cm.
Contains 47 lithographed plates by Theodoor Soeterik. Dutch translation and editing by Christiaan Kramm. With manuscript schoolprize to Hendrik Buijen dated 1850 bound at the front.

Les couleurs en photographie : solution du problème / par Louis Ducos Du Hauron.

Paris : A. Marion, 1869. 57 p. ; 23 cm.
Le 23 novembre 1868, Arthur Louis Ducos du Hauron obtient un brevet pour un procédé d’impression trichrome permettant la photographie en couleurs. Il photographie chaque scène à travers trois filtres, respectivement vert, orange et violet, puis il imprime les trois négatifs sur de fines feuilles de gélatine bichromatée contenant des pigments au charbon de couleur rouge, bleu et jaune, complémentaires des couleurs des négatifs. Lorsque les trois images positives, habituellement sous la forme de transparents, sont superposées, il en résulte une photographie en couleurs. Un autre inventeur français, Charles Cros, découvre aussi ce procédé, mais publie ses résultats quarante-huit heures trop tard. Louis Ducos du Hauron vient en effet d’obtenir le brevet de cette invention. Il décrit ses résultats dans deux ouvrages intitulés Les Couleurs en photographie : solution du problème (1869) et Les Couleurs en photographie et en particulier l’héliochromie au charbon (1870). Cette contribution du xixe siècle sera capitale pour le développement de la photographie.

Les couleurs reproduites en photographie : historique, théorie et pratique / par Eug. Dumoulin.

Series: Actualités scientifiques. Paris : Gauthier-Villars, 1876. 63 pages ; 19 cm.

Practisch handboek der ververij en drukkerij in haren geheelen omvang, bevattende voorschriften ter voorbereiding van de katoen voor het drukken en verven; tot het verven en drukken van katoen, wol en zijde in verschillende tinten en kleuren; tot het bereiden der vereischte praeparaten, zoowel bijten als verfstoffen / door Anton Spirk.

Leiden : Noothoven van Goor, 1876. 197 p. : “met eene plaat”, 23 cm.
Rare manual on the colouring of cotton, wool, and silk including the recipes of the various dyes.

Die Gestalt des Menschen und ihre Schönheit : Vorlagen zum Studium des nackten menschlichen Körpers / hrsg. von den Kunstmaleren Otto Schmidt und Ernst Schneider.

Berlin : Singer, [1907]. 191 S. : überw. Ill.
12 Lieferungen gebd. zu einem Band.
Profusely illustrated with 136 reproductions of colored & b/w photographs of women and men in the nude posing in studio settings as well as in nature. Few images with models dressed. Photographs by Kunstmalers Otto Schmidt und Ernst Schneider, some images colored by the same. Published during the beginnings of the FKK (Freikörperkultur – Free Body Culture) movement with the purpose of educating the public on the aesthetic and beauty of the human body, expressing an attitude towards life in which the naked body is nothing to be ashamed of. In 1898 the first FKK club was founded in Essen and in 1900 the naturalist movement began in France.The illustration on the cover shows a color reproduction of a painting by the Austrian artist Raphael Kirchner.

Nederlandsch Brazilië onder het bewind van Johan Maurits Grave van Nassau, 1637-1644 : historisch, geographisch, ethnographisch / Caspar Barlaeus ; naar de Latijnsche uitgave van 1647 voor het eerst in het Nederlandsch bewerkt door S.P. L’Honoré Naber.

‘s-Gravenhage : Martinus Nijhoff, 1923. XVI, 442 pagina’s, [67] plates : illustrations, maps, portraits, facsimiles ; 47 cm.Numbered and signed copy (108 of 160). Translation of: Rervm per octennivm in Brasilia et alibi nuper gestarum, sub præfectura illustrissimi comitis I. Mavritii … historia. – Amstelodami, ex typ. J. Blaev, 1647.
First and only Dutch edition of the most important work on the Dutch period in Brazil, based upon information given to the author by Johan Maurits van Nassau-Siegen himself. Only a German translation appeared during the 17th century. This Dutch edition contains several documents not included in the contemporary editions, as well as reproductions of all nine leaves of the great map of Dutch Brazil, of which only four leaves could be reproduced in the original edition of 1647.

Aanwinsten mei 2016

Kunst-Büchlein, oder gründlicher Gebrauch von Etz Arbeit : in und ausserhalb Feuers aus Alchymischen und natürlichen Grunde, Nehmlich Härten weichen, Schmeltzen, Scheiden, Abtreiben, Probieren, Löten, Etzen, Abformen, Abgiessen [et]c. Wie auch Jede Farbe zu bereiten, erhalten, bessern und wiederbringen: Als Zum Mahlen, Schreiben, Illuminiren, Vergülden, Stücken, Edelgesteinen : Nebst bey gefügten Register.

Frankfurt und Leipzig : Verlegts Johann Caspar Meyer, 1701. 203 S ; 14 cm.
Modernisierte Neuauflage eines Augsburger Kunstbüchleins von 1537 in Verbindung mit einer Neubearbeitung von “Rechter Gebrauch der Alchimie” von 1531.

Nouveau livre d’Academie : pour aprendre a déssiner / par Mr. B***.

À Paris : Chez Vaneck, rue Saint Jacques vis-a-vis les Mathurins, [1730]. [1], 26 leaves : chiefly illustrations ; 15 x 22 cm. 26 gravures sur cuivre dont 25 signees d’un “B”, soit: un titre gravé dans un cartouche de feuillage de style rocaille et entouré dans chaque angle par quatre stylisés et 25 planches numerotées 2-16. Une 27e planche du meme style mais non signee a été brochée à la suite.
Drawings signed B. or LB, possibly by Charles Le Brun, or possibly by Jean-Jacques Bachelier (1724-1806).
Le ‘Livre d’Académie’ est une tradition de l’Académie de Peinture et de Sculpture. Les professeurs tenaient, par roulement, des cours de dessin de modèles vivants et des conferences où ils enseignanent les principes et les techniques de l’art aux candidats artistes, peintres et sculpteurs. Vers 1680, Jean Le Pautre, member de l’Académie de Peinture, avait déjà publié son ‘Livre d’Académie Royale de Peinture et Sculpture’. Charles Le Brun avait publié en 1702 sa célèbre ‘Méthode pour apprendre à dessiner les passions’, ouvrage à la postérité célèbre qui a parfois entraîné l’attribution de ce livre de style véritablement rocailles à ce grand artiste du classicismne français.

Les regles du dessin et du lavis : pour les plans particuliers des ouvrages & des bâtimens, & pour leurs coupes, profils, elévations & façades, tant de l’architecture militaire que civile / par. M. Buchotte.

A Paris : Chez L. Cellot … successeur de Ch.-Ant. Jombert, 1754. Nouv. éd., revue , corr. et augm. xv, 214 pages, 24 folded leaves of plates : illustrations ; 21 cm.
Nouvelle et dernière édition, l’une des deux publiées en 1754, de ce grand classique de technique de dessin appliqué à l’architecture et la topographie. Les planches, d’un ton encyclopédique, représentent les outils du dessinateur ainsi que des exemples de dessins appliqués. On notera en particulier la section XIII de la troisième partie qui propose une très intéressante “Liste génénal des couleurs et papiers propres au lavis ; des plumes, bouts d’ailes et de corbeau ; des crayons de pierre de mine fine, et des pinceaux, avec leur prix” ainsi que le nom et l’adresse de fourniseurs.

L’art du peintre, doreur, vernisseur : ouvrage utile aux artistes & aux amateurs qui veulent entreprendre de peindre, dorer & vernir toutes sortes de sujets en bâtimens, meubles, bijoux, equipages, &c. … / par le Sieur Watin, peintre, doreur, vernisseur, & marchand de couleurs, dorures & vernis.

A Paris : Chez Grangé, imprimeur-Libraire, au Cabinet Littéraire, Pont Notre-Dame, Chez Durand, Neveu, rue Galande, à la Sagesse. Chez l’auteur, carré de la Porte Saint-Martin, à la renommée des couleurs & vernis, M. DCC. LXXIII. [i.e. 1773] Seconde éd. revue, corrigée & considérablement augmentée. xxvij, 360, 4 pages ; 20 cm.
First published in 1772, this work became a standard work for artists and architects interested in interior decoration and its techniques. Jean-Felix Watin was al well-known ‘merchard de couleurs’. His shop, ‘La Renommée des Couleurs’ opened near the end of the 1740’s. He wasn’t a good writer, but Roch-Henri Prévost de Saint-Lucien put his ideas to paper. The first edition (250 pages) was revised immediately by Grangé and Durand and augmented with an essay of the Jesuit Pierre d’Incarville on Chinese lacquer.
The second edition consisted of 360 pages and Watin added a 4 page catalogue of the products he had in stock. At first glance a simple recipe book with some tricks of the trade, the work is much more. The members of the Academy of Architecture, who put the book unread on their shelves didn’t understand that te work corresponded t a new orientation of French architecture. Because althought the Rococo was based on sumptuous drawings made by architects the actual work was done by the interior painters and Watin, in daily contact with these people understood and wrote this work for them (Th. Verdier, 2005).

Geheimnisse oder die gründlichste Belehrung über das Vergolden und Versilbern im Feuer. Nebst richtiger Unterweisung zur Bereitung der Bronze, der Goldfirnisse, und des Bossirwachses, zur Erlernung des Löthens, Verzinnens und der Lackirkunst … / von C.J. Wilh. Geyert.

Guben : Eduard Meyer, 1833. 2. Ausg. 78 S ; 18 cm.
Auf eigenen praktischen Erfahrungen des Verfassers beruhendes Handbuch für Gürtler, Gelbgiesser, Schwertfeger, Schlosser und sonstige Metallberufe.

Traité de perspective pratique, pour dessiner d’après nature… / par [Jean-Pierre] Thénot.

Paris : l’auteur, 1838. Seconde édition. 136 p., 24 pl. ; ill. ; 24 cm.
Seconde edition publiée à compte d’auteur de ce traité ecrit par un professeur de dessin en vogue. Il connut plusieurs rééditions ainsi qu’une traduction anglaise en 1844. Le charme de ces ouvrages reside dans la implicité de la gravure au trait qui illustre le cours.

De muurschilderingen van Der Kinderen in het trappenhuis van het gebouw der Algemeene Maatschappij van Levensverzekering en Lijfrente te Amsterdam / Jan Veth.

Amsterdam : Drukkerij Holland, 1900. ills. ; 22 cm.
With 10 text drawings by Derkinderen representing his murals for the General Life Insurance Building at Amsterdam (architect H.P. Berlage).
Copy sent by Derkinderen to J. Blom at Utrecht, with an accompanying handwritten and signed letter (recto/verso) by Derkinderen, dated September 8, 2004, discussing the price of the carton of ‘De Wijze Les’ (on page 19 of this booklet) which apparently Blom wanted to buy on behalf of the Museum in Utrecht. With the letterhead of Derkinderen’s studio De Zonnebloem, te Laren).

Indonesië vrij! : onuitgesproken, aan de rechtbank overgelegde, rede, ter verdediging van de “Perhimpoenan Indonesia” naar aanleiding van het proces tegen de Indonesische studenten / door Mohammad Hatta ; met een voorwoord van Edo Fimmen.

Den Haag : “Perhimpoenan Indonesia”, 1928. 87 p. ; 25 cm.
The famous plea, not expressed however due to a court-order, submitted to the county court of The Hague; à décharche of the Indonesian defendants Mohammed Hatta, A. Sastroamidjojo, Rd.Mas A. Madjid Djojoadhiningrat & Mohammed Nazir Pamontjak. The speech was written by Hatta, President of the Perhimpoenan Indonesia, a radical organization of Indonesian students in the Netherlands. Hatta, together with several other Indonesian students, was remanded in custody in 1927 by the Dutch public persecutor for his political activities. In his prison cell he wrote this text entitled Free Indonesia! Besides a future free of colonial oppression for the Indonesian people, Hatta demanded an Indonesian history.

Reclamebrochure voor weegschaal Model Z. / Maatschappij “Van Berkel’s Patent”.

Rotterdam : Mij. “Van Berkel’s Patent”, [1928]. 1 vouwblad (4 pagina’s) : illustraties ; 21 cm.
Aan de kop van de eerste pagina: Een kleine schaal met een duidelijke wijzerplaat. Folding advertising brochure, printed in black and red, recto and verso, photomontage and typography by Paul Schuitema.

Model Z : een kleine snelweger met een duidelijke wijzerplaat / Maatschappij “Van Berkel’s Patent”.

Rotterdam : Mij. “Van Berkel’s Patent”, [1928]. 1 vouwblad (4 pagina’s) : illustraties ; 21 cm.
Folding advertising brochure, printed in black and red, recto and verso, photomontage and typography by Paul Schuitema.

Aanwinsten april 2016

Lo inganno de gl’occhi / prospettiva pratica di Pietro Accolti … Trattato in acconcio della pittvra.

Firenze : Appresso Pietro Cecconcelli, 1625. 6 p.l., 152 p., 1 l. : ill. ; 31 cm.First edition of a famous practical manual on perspective, especially of interest to painters. Pietro Accolti (Arezzo? 1579 – Florence 1642) was an Italian author, painter, architect, librarian and mathematician. Descendant of an illustrious Aretine family, Pietro was librarian and architect in the service of Cardinal Carlo Medici, and a member of the Florence Academy and the Academy of Design. He is known this treatise divided into three parts (on plane figures, solids and shading) and distinguished for showing how perspective practice derives from principles of visual perception. In this erudite work, he criticizes classical and modern theories of vision (including those by Witelo, Euclid, Aguilonius and Guidobaldo del Monte) and modern writers on perspective for underestimating the importance of light and shadow. He emphasizes the need to distinguish the light of (virtually) parallel solar rays from that of a diverging point source such as a candle. He presented some original ideas on arranging compositions with multiple vanishing points, and on foreshortening pictures within pictures. He reproduced a perfected version of Dürer’s perspective window with a frame, hinged shutter and strings. Chapters on anamorphosis and quadratura ceiling painting are typical of 17th-century interests.
Accolti’s writings testify to the 17th-century revival of the Leonardo’s ideal of scientific painting. Carlo Pedretti has shown that the appendix to part 3, “Discorso intorno al Disegno” (pp. 144-152), dedicated to young academicians, is a paraphrase of Leonardo da Vinci’s treatise on painting, now known as the Libro di pittura and that this text is the earliest “edition”of Leonardo’s treatise. Accolti followed in Leonardo’s footsteps by combining art with science and engineering projects, such as a windmill built in Livorno which was capable of moving water.
Also noteworthy is his flexible attitude towards perspective rules, which he cited only to “open the eyes and minds” of students without intending to set restrictions. His ideas on unione and sfumamento (the transitions between light and shadow) have been compared to those of Pietro Testa, and interpreted as a product of the Carracci reform of color and chiaroscuro. Besides all aspects of perspective, including anamorphoses, he discusses light fall and the camera obscura extensively. The work is divided into three parts and elaborately illustrated with numerous diagrams and figures.
After the title (verso blank) follows the dedication to Cardinal Carlo de Medici, dated Florence 30 January 1625 and signed by Pietro di Fabbrizio Accolti, 3 laudatory poems addressed to Giovambatista Strozzi, Alesandro Adimari and Andrea Salvadori, the table of contents and a two-page note to the reader. The text is divided into 3 parts: “Del proprio obietto del vedere, et azzionisue” (pp. 3-58), “Come si metta in disegno di prospettiva il primo de corpi regolari” (pp. 59-94) and ‘I raggi del corpo luminoso si partono da ciascun punto della superficie di esso con diritto progresso’ with a two-page note (pp. 95-143).
The work closes with two full-page woodcut perspective views of geometric structures, and the printer’s device and register of quires.

Unterschiedliche Zierrater von Laub- und Bäntlwerckh : üblich vor Goldschmid, Stucator und Bildhauer /
inventiert und in Kupfer gebracht durch Nicolaus Antoni Gutwein in Augsburg.

Augsburg, [1720?].6 unnumbered plates ; 32 cm.Six etched and engraved plates cut by J.J. Baumgartner after Gutwein‘s designs, presenting a series of elegant interlocking strapwork and foliate decorations. Only edition, complete. Keywords: luxury goods and architectural ornament. Nicolaus Anton Gutwein was active in Augsburg as engraver and goldsmith. He achieved master painter status in 1720 and produced the drawings for this book of ornamental foliage around that year.

Die wohleingerichtete Kunst- und Werkschule, oder, Handbuch für Künstler in allen fast nur zu erdenkenden Fällen : Zwey Theile.

Nürnberg : bey Gabriel Nicolaus Raspe, 1784. 5. durchaus verb., verm. und mit einem Anhange nüzlicher ökonomischer Vortheile versehene Ausg.[1] Bl., XII S., [1] Bl., 1306 S., [14] Bl. : ill. ; 18 cm. Handbuch für Künstler in allen fast nur zu erdenkenden Fällen. Umfangreiches Rezeptbuch für alle Arten des Kunsthandwerks und der Malerei. Über das Vergolden, Färben, Glasuren, Firnisse, Farbenherstellung, Miniaturmalerei, Tinten, usw. Unter den Textholzstiche ein Abbildung einer Camera Obscura. Von besonderen interesse für das Restaurierhandwerk.

Manual para pintar al lavado y a la aguada : obra importantísima á todos los que quieran dedicarse al estudio y pintura de paisages, planos, flores, vistas &c. / traduccion del frances, por don E.G.G.

Valencia : Imprenta de Cabrerizo, 1832. 6 preliminary leaves, 177, [5] pages : folded plate ; 16 cm. Spanish translation of an unknown anonymous French instruction book for coloring of prints and maps on paper and velum.

The characteristics of styles : an introduction to the history of ornamental art ; being an outline of a course of sixteen lectures on that subject, originally prepared for the government schools of design in the years 1848, 1849, 1850 / by Ralph N. Wornum.

London : Chapman & Hall, 1856. 112 pages : illustrations ; 26 cm. Analysis of ornament.Prize inscription to the front end paper stating that this volume was a prize from the Worcester School of Design, signed by the Preseident of the School in 1856.
The Worcester Government School of Design was founded in 1851. In 1894 a school of Science and Technology was added. It later became the Worcester College of Technology, and in 2015 it is part of the “Heart of Worcester College”. This is almost certainly a prize for James Hadley the potter (1837-1903) who went on to be a principal modeller for Royal Worcester, later founding Hadley and Sons described by John Sandon as “probably the finest English modeller of all time”.

Zeichnungen alter Meister in fürstl. Fürstenbergischen Kupferstichkabinett zu Donaueschingen / hrsg. von Engelbert Baumeister.

München : Hugo Schmidt, 1920. [2] p., [16] bl. pl. : ill. ; 51 cm.Die Entstehung der graphischen Sammlungen resultiert aus dieser früheren Periode der Standes herrschaft der Fürstenberger, wurde jedoch in späteren Phasen ergänzt und systematisch ausgebaut. “Die ganze Bedeutung des Kabinetts” – von fast 70.000 Stück – “wird unsofort klar, wenn wir fetstellen, daß von älteren Meistern des Grabstichel vertretens ind die Deutschen: Albrecht Dürer fast mit seinem ganzen Werk, Martin Schongauer, Meister M.Z., Hans Burgkmair, Schäufelein, Hans Holbein
d.J., Hans Baldung, Lucas Cranach …” Unter den wertvollen Handzeichnungen sind vertreten: Han Holbein d. Ä., Albrecht Dürer und andere.

Photographs from the collection of the Gilman Paper Company / Pierre Apraxine ; with plates by Richard Benson.

[Verona: Stamperia Valdonega]: White Oak Press, 1985. 477 pages : chiefly illustrations (some color) ; 47 cm.Presenting 200 images from one of the world’s important photographic resources. These images, selected by Pierre Apraxine, curator of the Gilman collection, illustrate the work of over one hundred photographers. The scope ranges from the experimental daguerreotype of the early 1840’s (Samuel F.B. Morse) to the pioneering photographs by Robert Frank and Diana Arbus of the mid 1950’s and 1960’s. The edition was limited to 1200 copies ad has been described as a tour-de-force of offset lithography. In this instance Richard Benson painstakingly produced fine line-screen negatives for offset printing of each black and white image in four to six colours. The Gilman Paper Company bought and installed an offset printing press in Benson’s home specifically for this project. Benson has written: “this book has always been intended to be as excellent and accurate to the originals as possible”. The 199 plates of this book bear eloquent witness to the achievement of this lofty goal.

Libro di pittura : edizione in facsimile del Codice Urbinate lat. 1270 nella Biblioteca Apostolica Vaticana /
Leonardo da Vinci ; a cura di Carlo Pedretti ; trascrizione critica di Carlo Vecce.

Firenze : Giunti, ©1995. 2 volumes in 1 case : illustrations (some color) ; 36 cm. [1] Facsimile vol. of Libro di pittura — [2] Commentary vol. accompanied by publisher’s leaflet. Among the writings of Leonardo da Vinci, only those on painting escaped the singular destiny of being ignored in the following centuries, thanks to a compilation, entitled Trattato della pittura [Treatise on Painting], published for the first time in Paris in 1651. The European culture of the modern age knew only the texts by da Vinci in the Treatise, which in turn was the shortened version of the original Book of Painting, completed by the pupil of Leonardo, Francesco Melzi, in the Codex Vaticanus Urbinas Latino 1270. Melzi had probably followed a project of Leonardo himself, transcribing texts into thematic sections that not only addressed the practice of painting, but also included broader issues of scientific and epistemological importance: the comparison between the arts and the disciplines; the definition of painting as scientia [science] and its primacy over other forms of knowledge; the analysis of the mathematical foundations of the real; the study of optics, of perspective, of light and shades. The code is not an autograph by Leonardo, but largely displays texts from now lost manuscripts. Moreover, the loyalty shown by Melzi in the transcription preserves all the characters of the language of Leonardo, committed to creating a new form of expression: an exact, precise, and immediate one. The Book of Painting, ultimately, is not so much a collection of precepts for the painter, but rather an extraordinary document of the penetrating analysis – performed by Leonardo da Vinci – of the complex combination of the scientific art issues.

Aanwinsten maart 2016

De arte graphica = The art of painting / by C. A. Du Fresnoy ; with remarks ; transl. into English, together with an original pref. containing a parallel betwixt painting and poetry, by Mr. Dryden ; as also A short account of the most eminent painters, both ancient and modern, continu’d down to the present times, according to the order of their succession, by another hand [Richard Graham].

London : printed by J. Heptinstall, 1695. LXIV, 355, I p. ; 21 cm. Extra engraved title-page drawn by Henry Cooke and executed by Simon Gribelin. The first edition of Dryden’s prose translation of Du Fresnoy’s work on painting. Also the first appearance of Dryden’s essay on painting and poetry.

The flower-garden display’d : in above four hundred curious representations of the most beautiful flowers ; Regularly dispos’d in the respective months of their blossom, curiously engrav’d on copper-plates from the designs of Mr. Furber, and others, and coloured to the life. With the description and history of each plant, and the method of their culture ; whether in stoves, green-houses, hot beds, glass-cases, open borders, or against walls. Very useful, not only for the curious in gardening, but the prints likewise for painters, carvers, Japaners, &c. also for the ladies, as patterns for working, and painting in water-colours, or furniture for the closet. The second edition. To which is added, A flower-garden for gentlemen and ladies ; Being the art of raising flowers without any trouble, to blow in full perfection in the depth of winter, in a bed-chamber, closet, or dining-room. Also, the method of raising salleting, cucumbers, melons, &c. at any time in the year. As it is now practised by Sir Thomas More, Bart.

London : J. Brindley, at the King’s Arms, New-bond-street ; and C. Corbett, at Addison’s Head, without Temple-Bar, Printed for R. Montagu, at the Corner of Great Queen-street, near Drury-Lane ; MDCCXXXIV [1734]. [6], 139, [1] pages, [13] leaves of plates : illustrations ; 27 cm.Originally published in 1730 as a set of twelve hand-colored folio plates with an added subscriber’s plate, it was intended as a seed catalogue to advertise the varied selection of flowers sold by Furber at his nursery. The popularity of the plates led to the publication of the first quarto edition of the hand-colored plates, “Coloured to the Life,” in 1732 with text apparently written by the botanist Richard Bradley. This second edition of 1734 has an additional hand-colored frontispiece plate, and an additional section on gardening: “A Flower-Garden for gentlemen and ladies: being the art of raising flowers without any trouble, to blow in full perfection in the depth of winter, in a bed-chamber, closet, or dining room….” While it originally served as a seed catalogue for Furber’s flowers, the publishers capitalized on other expanded artistic uses for his colored plates: “Not only for the curious in gardening, but the prints likewise for painters, carvers, japaners, &c. also for ladies, as patterns for working, and painting in water-colours, or furniture for the closet.” Furber’s plates and book were know in colonial Virginia. John Custis of Williamsburg owned the original folio set of plates by 1734 which were later inherited by Washington through the Custis estate. William Byrd of Westover listed the book version “Flower Garden Displayed” in his library catalogue.

Catalogus van een uytmuntend kabinet schilderyen, voortreffelyke teekeningen, miniaturen en waterverwen, konstprenten … verzamelt, door een voornaam lief hebber … het welke verkogt zal worden, op Maandag den 26 October 1761 … ten huize van Arnoldus Dankmeyer … door de makelaar Hendrik de Leth …. .

Te Amsterdam : by Hendrik de Leth, 1761. 85 pagina’s ; 20 cm. Bound with: Catalogue raisonné des tableaux, procelaines, bijoux et autres effets du kabinet de Feu M. Gaillard de Gagny … / par Pierre Remy.Extremely rare auction catalogue of the collection of Hendrick de Wacker van Son, including Paulus Potter’s lost painting “Ossedrift”, Van Ostade and De Wit paintings, and drawings by Rembrandt, Ruysdaal and others.

Catalogue raisonné d’un recueil d’estampes d’après les plus beaux tableaux qui soient en Angleterre : les planches sont dans la possession de Jean Boydell, et ont été gravée par lui, & les meilleurs artistes de Londres.

A Londres : chez le proprietaire, graveur, & marchand d’estampes, Cheapside, 1779-1783. 2 dl. (VI, [4], 199 p.) ; 27 cm.John Boydell (19 January 1720 – 12 December 1804) was an 18th-century British publisher noted for his reproductions of engravings. He helped alter the trade imbalance between Britain and France in engravings and initiated a British tradition in the art form. A former engraver himself, Boydell promoted the interests of artists as well as patrons and as a result his business prospered. The productivity and profitability of Boydell’s firm spurred the British print industry in general. By 1785, annual exports of British prints reached £200,000 while imports fell to £100. Boydell was acknowledged and praised throughout England as the agent of this stunning economic reversal. In 1773 he was awarded the Royal Academy Gold Medal for his services in advancing the print trade. In 1789, at the Royal Academy dinner, the Prince of Wales toasted “an English tradesman who patronizes art better than the Grand Monarque, Alderman Boydell, the Commercial Maecenas”.

Trattato della pittura di Lionardo da Vinci, tratto da un codice della Biblioteca vaticana / Pubblicazione curata da Guglielmo Manzi (cfr. la dedica e l’introduzione), con note di Giovan Gherardo De Rossi e disegni eseguiti da G. Francesco De Rossi.

Roma : nella Stamperia De Romanis, 1817. 43, [1], 511, [1] p. ; 29 cm + 1 fasc. ([4] p., xxii c. : in gran parte ill. ; 33 cm). Tit. del fasc. allegato: Disegni che illustrano l’opera del Trattato della pittura di Lionardo da Vinci, tratti fedelmente dagli originali del codice Vaticano.
This is the earliest published transcription of Leonardo’s essays and precepts on Painting based on the original manuscript in the Vatican (Cod. Urbinas Latinus 1270). After Francesco Melzi compiled it in Milan around 1540, the manuscript was undocumented for over 80 years. In 1626 it is listed among the holdings of the Della Rovere library at Casteldurante as part of the property acquired by the Papal states at the death of the last duke of Urbino, Francesco Maria Della Rovere. In 1631 it is transferred from Casteldurante to Urbino and in 1657 it entered the Biblioteca Alessandrina in Rome. Later it is transferred to the Vatican Library. The manuscript remained unknown until it was rediscovered in the Vatican library in the late eighteenth century. It was published for the first time by Guglielmo Manzi in Rome in 1817.

Modèles de Menuiserie : choisis parmi ce que Paris offre de plus nouveau, de plus remarquable et de meilleur goût : accompagnés de détails et développemens qui doivent en faciliter l’exécution : suivis d’un abrégé de l’art du menuisier, et d’un traité des escaliers / M. Bury, architecte, auteur et dessinateur de l’ouvrage.

Paris : Ainé, 1825. 24 p., 73 bl. pl. : ill. ; 46 cm.First edition of a pattern book showing details of architectural woodwork taken from actual built examples in Paris. Bury published here the latest and most fashionable uses of carved woodwork in Parisian buildings in the decade after 1815. The plates show a variety of doors, ceilings, windows, library shelving panelling, domestic interiors, ecclesiastical architectural woodwork, and stairs; with a section of shop fronts (6 designs), including some interiors. Most designs are shown in elevation, but there are also plans and sections. The brief explanatory text gives the names of the architects where relevant.

L’industrie : exposition de 1834 / par Stéphane Flachat.

Paris : L. Tenré, [1834]. [2], 160 s., [38] k. tabl. : ill. ; 26 cm.Stéphane Flachat, connu sous le nom de Mony, fut un des pionniers du chemin de fer en France. The illustrated catalogue of the French Industrial Exposition of 1834. This was the 8th major French Exposition, and the first to be held in buildings erected specifically for its use. Flachat’s text provides an extensive commentary on the products and inventions exhibited in all categories as well as offering a history of the 7 expositions which had preceded it (the last having been in 1827). A complete copy with the full complement of 38 lithographed plates depicting examples of products displayed.

Les arts de la maison : choix des œuvres les plus expressives de la décoration contemporaine /
publ. sous la direction de Christian Zervos.

Paris : Éditions Albert Morancé, 1923-1926. v. ; 29 cm. Holdings: 1923, no. 3 (Automne) – 1924, nr. 3 (Automne).Incomparable source of pictorial information on the era in interior decoration and furnishing that culminated in the Art Déco exhibition of 1925. Raoul Dufy, Sue et Mare, Maillol, Elkouken, Mallet-Stevens, Lurçat, Le Corbusier, Ruhlmann, Josef Hoffmann, Oud, Van de Velde, Perret, Véra, and Lalique are among the included designers of furniture, wallpapers, decorative pieces of all kinds, and of whole interiors, many of which have not survived.

Formes et vie. Revue trimestrielle de synthèse des arts.

Paris : Editions Falaize, [1951] 2 v. : ill. ; 31 cm. Holdings: No. 1 – 2 (1951).Deals largely with Purist theory and integration of various art forms including architecture, furniture, interior design, fashion, film, theater, and literature.

Chili, september 1973 / Koen Wessing.

Amsterdam : De Bezige Bij, 1973. [48] p. : only ill. ; 25 cm. ISBN: 9023451570.First published in 1973, just months after the fall of Salvador Allende to Augusto Pinochet’s coup d’etat, it describes the tense days of the military attempt to root out public opposition in the streets of Santiago, and has since become one of documentary photography’s most exemplary moments.

Aanwinsten februari 2016

The works of Sir Joshua Reynolds … : containing his Discourses, Idlers, A journey to Flanders and Holland, and his commentary on Du Fresnoy’s Art of painting, printed from his revised copies (with his last corrections and additions) … to which is prefixed An account of the life and writings of the author / by Edmond Malone.

London : Printed for T. Cadell, Jun. and W. Davies, in the Strand, 1797. 2 volumes : portraits ; 29 cm.
This two-volume posthumous edition of the writings on art of Sir Joshua Reynolds (1723–92), one of the greatest of eighteenth-century artists and the first president of the Royal Academy, was published in 1797. Volume 1, prefaced by a short biography of Reynolds by his friend, the Shakespearean critic Edmond Malone (1741–1812), consists of his ‘discourses’ on art given at the Royal Academy, and three essays published in Dr Johnson’s periodical The Idler. Volume 2 contains his previously unpublished Journey to Flanders and Holland, which describes and comments on the paintings Reynolds examined on a two-month tour in Europe in 1781, and an extensive commentary by Reynolds on a poem on the art of painting by Charles Alphonse du Fresnoy (1611–68). Appendices include essays by Pope and Dryden on Du Fresnoy’s poem, and chronological and alphabetical lists of painters and their genres. An index covers both volumes.

The cabinet makers’ sketch book : a series of original details for modern furniture / by P. Thomson.

Glasgow ; William Mackenzie, [1852-1853]. 1 vol. (different page numbers) : mainly illustrations ; 39 cm.
First edition, a rare book. Not included in the extensive list of design books analyzed by Edward Joy in his Pictorial dictionary of British 19th century furniture design (but he does mention it in passing in his entry on Blackie’s Cabinet-maker’s assistant [which was also by P. Thomson]). The Cabinet makers assistant is included in the bibliography by Jeremy Cooper, “Victorian furniture, a guide to the sources,” but the present work is not. A few of the designs reflect French influence. The furniture forms are wide ranging and include a few pieces of upholstered seating furniture, beds, door panels, and ornamental detail. Several plates and a section of the text are devoted to drawing in perspective. I suspect, but cannot prove, that this work is of Scottish origin. It is dedicated to Charles Trotter of Edinburgh. The credit line at the foot of the plates is about evenly divided between William Mackenzie, Glasgow, Edinburgh and London and William Mackenzie, Glasgow & Edinburgh. (Charles Wood, cat. 167, # 64)

Chimie des couleurs pour la peinture à l’eau et a l’huile, comprenant l’historique, la synonymie, les propriétés physiques et chimiques, la préparation, les variétés, les falsifications, l’action toxique et l’emploi des couleurs anciennes et nouvelles / par J. Lefort.

Paris : Masson, 1855. v, 344 p. ; 19 cm.
First edition. “Comprenant l’historique, la synonymie, les properties physiques et chimiques, la preparation, les varietes, les falsifications, l’action toxique et l’emploi des couleurs, anciennes et nouvelles.” The book was intended both for artists and for those in the color making industry. It is thoroughly indexed.

Every man his own printer, or, Lithography made easy : being an essay upon lithography in all its branches, showing more particularly the advantages of the “Patent Autographic Press.”

London : Waterlow and Sons, 1859. 2nd ed. 50 pages, [1], 9 leaves of plates : illustrations ; 28 cm.
Originally published: London : Waterlow and sons, 1854. “An admirably useful illustrated text on the elements of lithographic drawing, writing, transferring, engraving and printing for the inexperienced user.” -Bridson/Wakeman D51. Bigmore and Wyman state that the Autographic Press was a roller or cylinder press adapted to lithography; it was originally invented by M. Poirier of Paris, from whom the patent was purchased by Messrs Waterlow & Sons. (B&W, I, p. 207). The work was popular and went through three editions. The plates, which are quite handsome, serve as exemplars and include hand writing, writing upon transfer paper, music, pen and ink drawing upon transfer paper, ditto upon stone, chalk drawing upon stone, chalk drawing with tint, and engraving on stone. 9 litho plates which were printed on the Autographic Press. (Charles Wood, cat. 167, # 161)

Aquarelles / Delacroix.

[No place and name of publisher], [1860?]. 10 unnumbered plates : illustrations only ; 31 cm.
10 color aquatints (“fac-similé par Himely”).
Sigismond Himely (1801-1872), a Swiss by birth, was part of a group of expert French engravers who brought the art of aquatint to its apogee; his copies of daguerreotypes are of a surprising exactitude. The painter Delacroix, originally from Boulogne, made a specialty of maritime subjects; nine of the prints in this volume are of seashore subjects. The technique of reproduction utilized by Himely was color aquatint; this process required one plate for each color, sometimes six or eight plates and as many impressions of the press. The result approaches chromolithography; indeed, the copy of this work in the Bibliothèque Nationale is catalogued as chromolithography. The credit line “fac-similé par Himely” is found on the margin of several of the prints. While this volume has no printed title page, it does have a proper binding and gilt stamped cover (‘Delacroix / Aquarelles’) which indicates to me that it was a published edition, thouogh surely very small. (Charles Wood, cat 167, # 70)

Nouveau manuel complet du dessinateur et de l’imprimeur lithographe. Nouvelle édition, entièrement refondue mise au courant de l’industrie actuelle, et augmentée de plusieurs procédés nouveau concernant la lithographie mécanique, la Chromolithographie, la Lithophotographie, la Zincographie et traitant des papiers de sureté / par M. Knecht.

Series: Manuels-Roret ; 271. Paris : Roret, 1867. xx, 403 pages : 15 cm + atlas of 7 pages, 14 plates.
Fine complete copy of this rare edition. Knecht was the sole pupil of Senefelder. The present work had its origins in the 1827 manual by Bregeaut. That manual was revised and augmented by Knecht and Jules Desportes in 1850 (see Twyman, Lithography, p. 264). The present work, while still based on Bregeaut, is largely a new work, completely rewritten and incorporating the subjects listed in the title above. It is listed in Twyman’s bibliography, p. 267. The plates are also new and include one chromolithograph (imprimé sur les machines a vapeur systeme Dupuy, Passage du Desir, 3, Paris). (Charles Wood, cat. 167, # 146))

The history of paper hangings : with a review of other modes of mural decoration ; read before the Architectural and Archaeological Society of Liverpool, February the 10th, 1875 / by George H. Morton ….

Liverpool [Lancashire] : G.H. Morton, 1875. 45 pages ; 22 cm.
This might be the first systematic historical enquiry into the history of wall paper. Sections of the text discuss Egyptian painting, Roman painting, distemper and oil painting, tapestry, Painter Stainers’ Company, flock, plain paper, block paper hangings, manufacture of block paper hangings, machine paper hangings, manufacture of machine paper hangings, Liverpool paper stainers, German paper hangings, French paper hangings, and conclusion. Morton (1826-1900) is today known as “the father of geology in Liverpool” through his intense interest in ‘a subject of engrossing interest, something worth living for.’ [Oxford Dictionary of National Biography]. It was in 1849 that he set up business as a paper hanger, from this personal experience he was led to write the present work in the same diligent manner as he applied to his collection of fossils. (Charles Wood, cat. 167, # 175)

Art industry : furniture, upholstery, and house-decoration, illustrative of the arts of the carpenter, joiner, cabinet-maker, painter, decorator, and upholsterer / ed. by G.W. Yapp ….

London : J.S. Virtue & Co., [1879]. vi, 76 pages, [320] plates : illustrations ; 38 cm.
An excellent copy of a highly valuable work given a good note by Edward Joy: “His Art Industry has some 1200 illustrations. An important introductory section on woodworking has sketches of joints and of machinery, with technical descriptions. There are also descriptions of papier maché, carton pierre, and ther materials connected with furniture making. For illustrations of furniture Yapp selects some of the more elaborate exhibits from the International Exhibitions of 1851, 1855, and 1862 as well as examples from a collection of antiques shown at Gore House, London, in 1853. He expresses approval of the Gothic designs of Pugin, “a learned and skilful revivalist”, but is strongly critical of the “modern mediaeval” of contemporary designers. Art Industry is backward looking; it ignores the changes of the 1870s and stamps its approval of mid-Victorian taste.” – Pictorial dictionary of British 19th century furniture design, p. xxxviii. Illustrations are as follows: furniture (151 plates); textile fabrics (84 plates); house decoration (47 plates) and carpets and floor cloths (38 plates). One of the essential works for the study of Victorian furniture and decoration. (Charles Wood, cat. 167, # 66)

The furniture trade catalogue : containing designs for every description of modern furniture, of the styles in general demand : with copious descriptive index and price list.

London : Wyman & Sons, “Furniture Gazette” Office, 1882. 3rd ed. 27 pages, 165 leaves : illustrations ; 32 cm.
Originally published 1877. A very comprehensive work showing a total of 518 illustrations of furniture designs for the Hall, Library, Breakfast and Dining Room, Drawing Room and Bed Room. These designs can be taken to represent stock commercial production of furniture in the 1880s. This work is included in E. Joy, Pictorial Dictionary of British 19th Century Furniture Design (1977): “Wyman and Sons differed from commercial producers in that they were printers, of Great Queen Street, London. From this address they published a number of periodicals including the Furniture Gazette, hence their connection with furniture catalogues. They published a series of Cabinet Makers’ Pattern Books in 1877, with a third edition in 1882 and subsequent editions at intervals. Price lists were issued with the Pattern Books so that retailers could take orders and quote prices with the knowledge that they could obtain the items from the big wholesalers such as C. & R. Light.” (p. xlii). Wyman & Sons also offered their printing services to cabinet makers “who may be desirous of issuing catalogues of their own” – they would take the original drawings and transform them into lithographs and thence into catalogues. (Charles Wood, cat. 167, # 65)

The draper’s dictionary : a manual of textile fabrics : their history and applications / by S. William Beck.

London : The Warehousemen & Drapers’ Journal Office, [1882]. 377 p. ; 19 cm.
First edition in book form; originally published in bits and pieces in the Warehouseman and Draper’s Trade Journal. “Despite its limitation in the number of words included, William Beck’s Draper’s dictionary (1882) is invaluable for its references to the use made of materials over long periods of time. Editors of the Oxford English Dictionary relied extensively on Beck’s work.” Florence Montgomery, Textiles in America, p. 380. (Charles Wood, cat. 167, # 99)

Polychromatic decoration / by Charles Leslie.

Boston, Dana Estes and Charles E. Lauriat, 1884. 40 plates ; 25 x 30 cm.
This is a curious and puzzling book, as well as a rarity. One thinks immediately of the English/American artist Charles Robert Leslie (1794-1859) but I do not think he was the author. OCLC also locates one copy only of the English edition (Toronto PL), also published in the same year, 1884 by August Fischer. The present American edition consists of the original chromolithographic plates, printed in London by August Fischer and a cancel title page as well as an American binding. The book was obviously an outgrowth of the nineteenth century mania for historic ornament, the genesis of which was Owen Jones’s Grammar of Ornament. The quality of the color printing, done on glazed paper, is very high. Higher, I think, than would have been possible in America at this date. (Charles Wood, cat. 167, # 78)

Manuel pratique de lithographie sur zinc / par Léon Monrocq, imprimeur.

Series: Bibliothèque technique. Paris : Monrocq frères, 1891. 3. éd., rev. et augm. 126 pages ; 18 cm.
First published 1885. Luis Nadeau gives a good note on this subject: “Lithography from zinc plates rather than stones. The idea of substituting light weight plates for stones was known for at least half a century before high quality industrial production was achieved by Monrocq who, by the time he was successful in 1875, had spent five years improving the process. Advantages of using zinc over stone as of 1880 were as follows: 80% saving in terms of production cost, 98% less weight, 95% savings in terms of storage volume.” – Encyc of printing, photographic, and photomechanical processes, II, p. 478. (Charles Wood, cat. 167, # 151)

Facts about processes, pigments, and vehicles : a manual for art students / by A.P. Laurie.

London ; New York : Macmillan, 1895. x, 131 pages : illustrations ; 19 cm.
First edition. The book is arranged in two parts: An experimental course on pigments and vehicles and Notes on “process” and on tempera, fresco, water-colour and oilpainting. The work concludes with a six page glossary of pigments and a three page list of chemicals and apparatus required. A. P. Laurie was a pioneer in research and professor of painting technique at the Royal Academy.

Scumbling & colour glazing : a practical handbook for house painters, coach painters and others : illustrated by 48 examples executed in paint / by Andrew Millar.

Series: Decorator series of practical books ; no. 6. London : The Trade Papers Publishing Co., Ltd. ; 1909. iii, 86, [1], iv-xv pages : mounted color samples ; 19 cm.
With 48 examples of paint on 12 pages, 4 per page.
“Scumbling” relates to that description of painting in which portions of the last coat are removed in order to expose part of the coat beneath. Glazing is a system of painting whereby a thin, transparent coat of one color – which is usually bright – is glazed or painted over another color which is a solid and is often relatively sombre in hue. Due to the actual mounted samples this book is highly useful for teaching purposes.

Paris vu en ballon et ses environs / André Schelcher & A. Omer-Decugis ; préface de Georges Cain.

Paris : Hachette & Cie, [1909]. 6 preliminary leaves, 30 plates, 2 leaves : illustrations ; 29 x 37 cm.
Les premières photos aériennes de Paris et de ses environs. A photography book showing early aerial views of Paris, taken from a hot air balloon.

XXIIe Salon international d’art photographique de Paris, 1927 / Société française de photographie.

Paris : Braun, 1927. 1 vol. (non paginé) : ill. ; 32 cm.

XXVIe Salon international d’art photographique de Paris 1931 / Société française de photographie.

Paris : Braun et Cie, 1931. XI p., 48 bl. pl. : ill. ; 32 cm.
The most recent issue I could find is the 39e Salon international d’art photographique : catalogue d’une exposition, Paris 1951.

Linguaggio è guerra = Language is war / Fabio Mauri ; a cura di Filiberto Menna.

Series: Ideologia / [Marani] ; 1. Roma : Marani, 1975. 1 v. ; ill. : 24 cm.
A collection of images of war and terror taken from various magazines and newspapers by Italian artist and writer Fabio Mauri. The images have been re-cropped, repositioned, and stamped with the words Language is war. This stamp is always only partly visible and adds a kind of ‘official document’ approach to the images, while appearing simultaneously humorous by their jaunty, playful positioning. Mauri is exploring the relationship between image and ideology. The visual language of war and propaganda.

De Wallen : Amsterdam’s red light district / social documentary photography by Daniel D. Teoli, Jr.

[Wheeling, West Virginia] : [Daniel D. Teoli, Jr.], [2015]. 4 unnumbered pages, 120 pages, 2 unnumbered pages : chiefly illustrations and portraits ; 22 x 25 cm + 1 DVD-R (4 3/4 in.).
A limited edition hand-printed artists’ book by social documentary photographer Daniel D. Teoli Jr. De Wallen: Amsterdam’s Red Light District is 8 1/2 inch square format, spiral bound and hand printed with Epson inkjet printers using archival pigment ink sets on acid free DUO paper. The book contains 91 photographs in color and black and white. Archival plastic interleaf separates the photographs and is incorporated in the spiral binding. The books have artisan made marbled end sheets and hand rounded corners. Pebbled plastic covers finish the book. A CD with image files of all photographs contained accompany the book. Edition size is 50 books and 2 proof books. The library copy is numbered and signed (1 of 50). Gift of the artist.

Bikers’ Mardi Gras / social documentary photography by Daniel D. Teoli, Jr.

[Wheeling, West Virginia] : [Daniel D. Teoli, Jr.], [2015]. 2 unnumbered pages, 108 pages, 2 unnumbered pages : chiefly illustrations and portraits ; 28 cm + 1 DVD-R (4 3/4 in.).
“Photographs were taken at Bikers’ Mardi Gras celebrations throughout the United States between 2012 to 2015”.
Documentary photography from Bikers’ Mardi Gras. Hand printed, limited edition artists’ book. The limited edition artist’s book is a letter size, spiral coil bound, hand printed book of archival pigment prints on acid free paper made with an Epson stylus printer using UltraChrome pigment ink sets. The pages have hand rounded corners, the book has frosted clear plastic covers front and back. End sheets are custom, artisan made with a beautiful marbled design. An introduction begins the book and the photographs follow – portfolio style. Pages are unnumbered. Plastic print protectors are used for each photograph and can be lifted off for viewing. Edition size is 50 books and 2 proof books.
The library copy is numbered and signed (8 of 50). Gift of the artist.

You haven’t seen their faces / Daniel Mayrit.

Madrid : Riot Books, 2015. 100 plates, 1 textpage : mostly illustrations ; 18 x 26 cm.
“These are the faces of the 100 most powerful people in the City of London. Use these images at your own discretion”.
Months after the London Riots of 2011, the Metropolitan Police hand delivered leaflets to people’s letterboxes which depicted youngsters that presumably took part in the events. Images of very low quality, almost amateur, were embedded with unquestioned authority due both to the device used for taking the photographs and to the institution distributing those images. But in reality, looking back in time, what did we actually know about those people? We had no context or explanation of the facts, but we almost inadvertently assumed their guilt because they had been ‘caught on CCTV’. This book intends to appropriate the characteristics of surveillance technology in order to create a very different set of images. Its subject matter is not the usual target of surveillance cameras, but a list of the 100 most powerful people in the City of London (according to the annual report by Square Mile magazine in 2013). The people here featured represent a sector which is arguably regarded in the collective perception as highly responsible for the current economic situation, but nevertheless still live in a comfortable anonymity, away from public scrutiny. Hence the questions raised would be of the same nature: in the same way that we could not possibly know if the youngsters portrayed by the police were actually criminals, we cannot assume either that the individuals here featured are all involved in the ongoing financial scandals…but aren’t they? (source: website Riot Books)
Winner of First PhotoBook 2015 @ Aperture / Paris Photo

Aanwinsten januari 2016

Traité des pratiques géométrales et perspectives, enseignées dans l’Académie royale de la peinture et sculpture / par A. Bosse.

A Paris : chez l’auteur, 1665. 2 dl. (1 bd.) ([16], 140 p., 67 planches gravées dont 1 double montée sur onglets, 1 présentant 2 pièces mobiles) : ill. ; 18 cm.
Leçons données dans l’Académie royale de la peinture et sculture; pratiques par figures des choses dites cy devant ainsy quelles ont esté desseigneés et expliqueés dans L’académie Royalle de la P. et S.
Edition originale de cet ouvrage dû au célèbre graveur Abraham Bosse (1604-1676), l’un des artistes majeurs du 17ème siècle, dont l’oeuvre est représentative du style baroque. Fin dessinateur et graveur, Bosse aimait enseigner et son traité, défense des idées de son ami Desargues, est une source majeure pour ce qui est des techniques de gravure mais aussi de sa conception propre de l’art et de la gravure. Il fut l’un des artiste-graveurs majeurs de sa génération, perfectionnant la technique de son maître et ami l’aquafortiste Jacques Callot qu’il rencontra en 1629. L’influence de ce dernier est perceptible dans l’utilisation que fait Bosse du vernis dur, plus exigeant techniquement, mais permettant des tracés plus nets. Cest à Bosse que lon doit la diffusion de la méthode de Desargues pour définir la perspective, et il fut le premier à enseigner la perspective à l’Académie royale de Peinture et de Sculpture. Le présent traité est une défense des idées de Desargues dont il se fit le porte-parole dès 1641, tant par ses écrits que par l’application de ces principes dans son oeuvre. Mais cette méthode ne faisait pas l’unanimité, et Bosse pour lavoir défendu devint la cible dune polémique. A l’ouverture de l’Académie en 1648, il est choisit comme professeur de perspective et de gravure sur la recommandation de Laurent de La Hyre, mais dès 1651 Charles Le Brun lance contre lui une cabale liée à sa théorie de la perspective. Bosse est accusé de plagiat, et exclu de l’Institution en 1661. Il fonde alors une école privée pour y poursuivre l’enseignement des méthodes arguésiennes. Elle est fermée par un arrêt royal du 24 novembre 1662. C’est pourquoi il rédige le présent traité en 1665, qui est illustré de très nombreuses planches qu’il a lui-même dessinées et gravées.
Acquisition funded by the Van der Vossen-Delbrück Fonds

Discours touchant le point de vue : dans lequel il est prouvé que les choses qu’on voit distinctement, ne sont vues que d’un oeil / par Sebastien Le Clerc.

A Paris : Chez André Cailleau, 1719. [12], 86 pages : illustrations ; 16 cm.
Originally published 1679, this is a charming but serious treatise on optics for artists. “This was one of the first French investigations into the nature of sight. The text, with some 31 illustrations in wood and copper, was aimed at an audience of artists and connoisseurs interested in problems of optics. Its purpose was to defend current theories of perspective against accusations that their use in painting had been based on false premises. The arguments were later expanded in LeClerc’s Système de la vision fondé sur de nouveau principes (1712).” – Wiebenson, III-B-23. Le Clerc argued that in natural vision one eye is always dominant at any one instance, and that the painter’s one-eyed vision is therefore justified (see M. Kemp, The science of art, p. 236).

Traité de la crûë des meubles au-dessus de leur prisée : dans lequel on explique son origine, & celle du parisis des meubles; les païs où la crüë a lieu, leurs différens usages sur sa quotité, quels meubles y sont sujets, quelles personnes en doivent tenir compte, & plusieurs autres questions qui naissent de cette matiere / par M. Boucher d’Argis, avocat au Parlement.

A Paris, au Palais : Chez Bernard Brunet fils, Grande Salle, à l’Envie, 1741. xij, 408 p. ; 18 cm.
The meaning here of the word ‘crue’ is ambiguous and it was even in the 18th century as it is explained in Chapter I: “le terme de CRUE signifiée plusieurs choses differentes, selon le sens dans lequel on s’en fert…la Crue des Meubles dont s’il s’agit ici, tire aussi son etymologie du verbe croitre. C’est un supplement de prix, qui dans quelques pais & en certain cas, est du outre le montant de la prisée des meubles par ce qui en doivent rendre la valeur.” (p. 4). This book was clearly intended at the time it was written as a legal work and is listed in Camus, Bib. choisie des livres de droit (1833; reprinted 1976) as number 1538. There was a later edition in 1767. But it is of interest today to economic historians and especially historians of furniture and material culture in early 18th century France.

Nouveaux principes de la perspective linéaire : traduction de deux ouvrages, de l’un Anglois, du docteur Brook Taylor, l’autre Latin, de M. Patrice Murdoch, avec un essai sur le mêlange des couleurs par Newton.

Amsterdam : Lyon : [s.n.] ; Jean-Marie Bruyset, 1759. LIV, 127 p., 6 bl. ill. ; 21 cm.
Originally published in 1719 in English, this was Taylor’s major work on perspective. It was so concise that Bernouilli characterized it as “abstruse to all and unintelligible to artists for whom it was written…Its effect, nonetheless, was very substantial, since it passed through four editions, three translations, and twelve authors who prepared twenty-two editions of extended expositions based on Taylor’s concepts.” This is one of the three translations. The treatise of Patrice Murdoch occupies pages 108-127. See also Kemp, The science of art, pp. 148-150.

The chair-maker’s guide : being upwards of two hundred new and genteel designs, both decorative and plain, of all the most approved patterns for Gothic, Chinese, ribbon and other chairs, couches, settees, burjairs, French, dressing and corner stools … / by Robert Manwaring, cabinet-maker, and others ; the whole neatly engraved on seventy-five copper plates.

London : Printed for Robert Sayer, 1766. [2] p., 75 leaves of plates : ill. ; 23 cm.
Manwaring was the author of several furniture pattern books; one year earlier he published The cabinet and chair maker’s real friend and companion; this latter title, was, according to Morrison Heckscher, “the most influential rococo [furniture] pattern book in New England.” But the present work apparently never found its way to America, at least not in the 18th century. But it has been analyzed by several scholars: Elizabeth White states that plates 1-28 in the Society of Upholsterer’s Household furniture in the genteel taste for the year 1760 were in fact drawn by Manwaring and were republished in the present work. She further states: “Other plates in the book (33-4, 37, 39-45) for hall and parlour chairs were by Matthias Darly … Three plates were signed by Ince and Mayhew and others by Copeland. It is impossible to tell whether Manwaring was behind this compilation or whether (which is more likely) it was the publisher and print seller Robert Sayer making a living out of re-issuing so many of the furniture designs of the 1750s.” – (Pictorial dictionary of British 18th cent furniture designs, p. 50). This is the first edition but it is a slightly later (but still 18th century) issue; the names of some of the designers have been erased from the plates.

Sheffield silver engraved trade catalogue.

{1800?] 52 unnumbered plates : only illustrations ; 37 cm.
A fine large format fully engraved catalogue of silver and silver plate consisting of 52 engraved plates showing a total of 131 individual pieces. As was the custom, it is not identified as to maker nor even to place of origin, but it is surely from Sheffield as it turned up there only recently (2013). Forms include candlesticks, wine coasters, two branch candelabra, footed communion cup, ‘weaters’ pepper casters, candle snuffers, cake baskets, cans, cups, ink stand, cruet stand, taper stand, sugars, coffee urn, condiment sets, flagon, tea pots, decanter labels, decanter coasters, dish cross, serving spoons, funnell, toast rack, and the like. The pieces are numbered, more or less consecutively from 1 to 131. The paper is variously watermarked with a heraldic device and the word “DURHAM.” T. Crom in his Trade Catalogues 1542 to 1842 states that “almost all silver plate catalogues were issued unidentified or anonymous to comply with the wishes of the retail merchants” (p. 209). That is the case here. See the V. & A. catalogue Old English pattern books of the metal trades (London, 1913). Their entry M.105.a is a Sheffield catalogue with similar watermarks, similar contents, and similar size. They do not date this catalogue but other Sheffield catalogues in the V. & A. collection date between 1792 and 1804. A reasonable guess for the present catalogue is ca. 1800. The standard source on this subject is F. Bradbury, History of old Sheffield plate (1912, reprint 1969). McKinstry, Trade catalogues at Winterthur, lists about a dozen early Sheffield silver plate catalogues.

An introduction to perspective, adapted to the capacities of youth, in a series of pleasing and familiar dialogues, between the author’s children : accompanied with illustrative plates, appropriate diagrams, and a sufficiency of practical geometry ; to which is added, A compendium of genuine instruction in the art of drawing and painting : the whole comprising a body of information, adapted equally to the simplicity of youth, and to mental maturity … / by Mr. Hayter.

London : Printed for the Author … and sold by Black, Parry, and Co. … Josiah Taylor … Edward Orme … and C.J. Barrington …, 1813. viii, 168 p., [1], XIV leaves of plates (some folded) : ill. ; 22 cm.
The rare first edition. “It seems to have been generally accepted that learning perspective, though necessary, was a bore. Charles Hayter, with this in mind, sugared the pill in his Introduction to perspective by presenting it as ‘a series of familiar dialogues between the author’s children, George, Anne, Eliza and John’ carefully adapted for the ‘Instruction of Females and suited equally to the Simplicity of Youth and to Mental Maturity.” – Bicknell & Munro, Drawing masters and their manuals 1800-1860, no. 40 (exhibiting the third edition of 1820).

Recueil de dessins d’orfévrerie a l’usage des marchands et fabricans orfèvrer : contenant tout ce qui a rapport au service de la table, de l’eglise, etc., avec le poids le plus approximatif de chacune des pieces, pour servir de guide dans la fabrication / dessiné et gravé par Aldre. Lefranc.

A Paris : chez l’auteur, [1815?]. 61 plates : mainly illustrations ; 29 cm.
A rare pattern book in a very good original condition. The contents are divided into two parts, the first table wares; the second church silver. Table wares include candlesticks, girandoles, chamber sticks, snuffers, a desk writing set, pitchers, coffee pots, tea urn, creamer, compote, tea cups, covered footed dishes, chocolate pots, sugar bowl, punch bowl, ladles, wine cooler, fish slice, oyster fork, sauce boat, soup tureen, etc. The designs are beautifully done and very sophisticated and, as would be expected at this period, very classical. Though it is not stated on the title page, the last sentence of the “Avertissement” indicates that this is a second edition.

Essai sur le dessin et la peinture, relativement à l’enseignement : nouveau précis de perspective, avec des planches / par C. Farcy.

Paris : De l’Imprimerie de A. Bobée, 1820. 2. éd. rev. et augm. 88 pages, [8] folded leaves of plates : illustrations ; 21 cm.
A rare book on the teaching of perspective, originally published one year earlier in 1819. The first edition has only 84 pages; this second edition has been enlarged to 88 pages and is illustrated with eight folded litho plates by Langlumé.

Memoir on the origin, progress, and improvement of glass manufactures : including an account of the patent crystallo ceramie, or, glass incrustations / Apsley Pellatt.

London : B. Holdsworth, 1821. ii, 36, 6 pages, 8 plates ; 23 cm.
First edition, rare. This work is of particular interest for the eight engraved plates showing a cut glass decanter and wine glasses; toilet bottle and water jug; two ornamental candlesticks; a small dining-room lustre (i.e. cut glass chandelier); a sinumbre lamp; a girandole; seals, brooches, knobs, etc. and miscellaneous small pieces. All of these pieces incorporate Pellatt’s patent crystallo ceramie. “In 1819 he introduced into England and patented a French method of decorating flasks, paper-weights, pendants, etc. with cameo-like portrait busts, classical heads, figures of putti etc., made of a porcellaneous white material enclosed in the thickness of the clear crystal glass, i.e. crystallo-ceramie or ‘sulphides.’ He obtained a patent for their manufacture in 1831.” See J. Fleming & H. Honour, Dictionary of the decorative arts, pp. 594-5 (from which the above quote is taken and which gives further bibliography).

Modèles de meubles et de décorations intérieures : pour l’ameublement, tels que tables, secrétaires, commodes, bureaux, miroirs, jardiniéres, fauteuils, chaises, lits, alcoves, draperies de croisées, etc. / dessinés par M. Santi ; et gravés par Mme. Soyer ; recueil de soixante-douze planches représentant deux cents objets à l’usage des tapissiers, ebénistes, fabricans de bronze, etc.

Paris : Bance ainé, 1828. 3 p., 74 bl. pl. : ill. ; 43 cm. Modèles de décorations pour l’ameublement.
A very rare work, published in connection with the French national industrial exhibition of 1827. As interesting as that association is, however, the major attraction of this rare work is as a pattern book of neo-classical furniture and interiors. The designs are wide-ranging and include vases, gueridons, console and centre tables, various elegant beds with elaborate canopies, classical chairs, stools, day beds, a wide variety of window draperies, neo-classical mantels, mirrors, elegant cradles, bureaus and desks, chiffoniers, etc. etc. Little is known about Lorenzo Santi (1783-1839). He was an Italian designer who worked in Rome with his brother Dionisio. The brothers had a high reputation; the French ambassador to the Holy See, Cardinal Fesch, uncle of Napoleon, ordered from them seventy pieces of furniture about 1805. This furniture was dispersed in 1816. It was perhaps this patronage, or perhaps the participation of Santi in the French industrial fairs, which were held in the Louvre in 1819 and 1827, which induced the publisher Bance to issue this book of his designs. Bance had already published the Modeles d’Orfeverie in 1822, the pieces chosen and engraved by Louise-Charlotte Soyer. He commissioned her to engrave the plates for the present book, which is presented by the editor as “le complement indispensable des cinq autres…relatif, soit aux objets de gout, dans le style antique soit aus Modeles d’Orfeverie, de Menuiserie, et de Serrurerie.” There was apparently no Italian edition of Santi’s designs; this is thus the first and only edition. The work is also of interest in that the plates were engraved by a woman; there were few female engravers in the early 19th century.

Manuel du fabricant d’étoffes imprimées, et du fabricant de papiers peints : contenant les procédés les plus nuveaux [sic] pour imprimer les étoffes de coton, de lin, de laine et de soie, et pour colorer la surface de toutes sortes de papiers / L. Séb. Le Normand.

Manuels Roret. Paris : Librairie encyclopédique de Roret, 1830. IX-[1]-342 p., 2 f. de pl. dépl. : ill. ; 15 cm.
First edition. “Contenant les procédés les plus nuveaux (sic) pour imprimer les étoffes de coton, de lin, de laine et de soie, et pour colorer la surface de toutes sortes de papiers.” Technical information on the printing of wall papers from the early 19th century is sparse. The wall paper section of this book contains a section on marbling paper and has been noted by Richard Wolfe: “In Chapter III of the second part, from pages 263 to 269 there is a description of the atelier of the marbler, with a discussion of his utensils and supplies (including gum, ox-gall, etc) and directions on the application of colors and the making of patterns.” – Marbled paper, p. 219, note 7. The two folding plates, which contain a total of 16 figures, include two of scenic wallpapers: fig 15, “Plafond en papier peint, representant la Toilette de Venus” and fig. 16, “L’un des tableaux de la collection mythologique exécute in papier peint, répresentant Venus et Diane.”

An introduction to perspective, practical geometry, drawing and painting : a new and perfect explanation of the mixture of colours, with full and practical directions for miniature, crayons, and oil painting; in a series of pleasing and familiar dialogues between the author’s children and in epistolary instruction to pupils / properly adapted for the instruction of females, and equally for all professional students by Charles Hayter.

London : Samuel Bagster, 15, Paternoster Row, 1832. The fifth edition. xxvi, [2], 259, [1] p., [26] leaves of plates (some folded) : ill. (engravings) ; 24 cm.
Originally published 1813. The fifth edition is the first to contain the section on colour; it occupies pages 188-219 and adds four new plates. Hayter was an important theorist and writer on the subject of colour.

Manuel complet du bijoutier, du joaillier, de l’orfèvre, du graveur sur métaux et du changeur … Tome 1 / par M. Julia de Fontenelle.

Manuels-Roret.Publisher: Paris : Roret, 1832. 432 p. : tab. ; 15 cm.

Manuel complet du bijoutier, du joaillier, de l’orfèvre, du graveur sur métaux et du changeur, .. Tome 2 / par M. Julia de Fontenelle.

Manuels-Roret.Publisher: Paris : Roret, 1832. 312 p., VII bl. pl. : ill. 15 cm.
First edition, rare. Included in Sinkankas (the present edition was “not seen” but he gives a good note for the second edition of 1855): “The three parts treat gemstones, jewelry metals, and a glossary of terms concerning metals. The gemological part consists of general remarks, a large section on the diamond, and smaller sections on other gemstones, including their descriptions, alternative names, prices, cutting styles, methods of cutting, and manufacture of imitations…Pearls, imitation pearls, and organic gemstones are also described, and a most interesting detailed description of lapidary apparatus and accessories, with abrasive and polishing agents appears on pages 163-78.” – Gemology an annotated bibliography, 3289-3290. Sinkankas also notes a new revised edition of 1884. The seven folding plates illustrate patterns for cutting gemstones, tools of the trade for cutting and polishing, furnaces for working metals, moulds for casting flatware and all kinds of small hand tools, and three wonderful plates of patterns for personal jewelry and ornaments, many silver forms (candlesticks, chalices, lamps, pitchers, cruet sets, urns, etc) and finally a plate of medals for learned and fraternal societies. This copy has a good provenance; it belonged to and was signed by that omnivorous book collector from Salem, Francis Peabody.

The cabinet-maker’s guide, or, Rules and instructions in the art of varnishing, dying, staining, japanning, polishing, lackering, and beautifying wood, ivory, tortoiseshell & metal : with observations on their management and application / by G.A. Siddons.

London : Sherwood, Gilbert, and Piper, 1837. 5th ed., considerably augmented by the addition of serveral new articles, receipts, &c. xvi, 223 pages, 4 leaves of plates ; 16 cm. Rules and instructions in the art of varnishing, dying, staining, japanning, polishing, lackering, and beautifying wood, ivory, tortoiseshell & metal; Siddon’s cabinet-maker’s guide.
Originally published about 1825, this work went through four editions in just over a decade. It was a long popular work and was reprinted in America in the first year of publication, 1825. An excellent essay on this work and its origins by R. D. Mussey appears in The first American furniture finisher’s manual (Dover, 1987). Mussey points out that the real authorship has been lost in the mists of time. He cites the publication of 14 known editions and seventy-plus pirated texts. He states that “it is fair to attach great significance to this text.” The long title is synoptical of the contents.

Imitative art; or, The means of representing the pictorial appearances of objects, as governed by aerial and linear perspective: : being a manual of details, for the amateur sketcher and the man of business, with a chapter on finish. /
by Frank Howard.

London : Darton and Clark, Holborn Hill, [1840]. viii, 117, [3] p., XII leaves of plates : ill. ; 19 cm. Means of representing the pictorial appearances of objects, as governed by aerial and linear perspective.
A very uncommon perspective manual. “The following pages will be found to afford the means of describing to Mechanics any given form, which they may be required to make; and thus to render Drawing an assistant to Words, as a means of communicating ideas.”

Applied chemistry; in manufactures, arts, and domestic economy / ed. by Edward Andrew Parnell.

London : Taylor and Walton, 1844. 2 dl. : ill. ; 22 cm. Applied chemistry.
First edition. Of special interest for section IV: Dyeing & Calico Printing; this section contains 23 mounted fabric samples, and is quite early for this sort of actual specimen illustration. The other sections are: I. Preliminary observations; II. Gas illumination; III. Preservation of wood. Duveen, p. 459, citing an edition of 1849. Ron, Bibliotheca Tinctoria, no. 40: “The first edition of a nineteenth century English handbook of applied chemistry, the most important part of which is that about dyeing and textile printing, pp. 221-444. There was an American edition published in New York also in 1844, proof of the intense competition between the British and American textile manufacturers at this period. This copy was inscribed by ‘William Bradley, Birmingham, 1844.’

The dyer’s instructer : comprising practical instructions in the art of dyeing silk, cotton, wool, and worsted and woollen goods … containing nearly 800 receipts ; to which is added a treatise on the art of padding … / by David Smith.

London : Simpkin & Marshall, 1850. xii, 352 p. ; 18 cm.
David Smith (1819-1892) was born in Halifax and began his working life as a dyer’s labourer. He rose to be a dyer and manufacturing chemist, and founded his own company in 1867. He wrote three books of dye recipes: The Practical Dyer’s Guide (1849); The Dyer’s Instructer (1850) and The English Dyer (1882). The books were translated into French, and also published in America. Of particular importance is that his career straddled the great development from the old dyes that had been used for centuries to the new aniline dyes. The first two books contain recipes that would have been recognisable to earlier generations of dyers; whilst the third includes many of the new dyes such as aniline black and Bismarck brown.

On colour and on the necessity for a general diffusion of taste among all classes : with remarks on laying out dressed or geometrical gardens : examples of good and bad taste illustrated by woodcuts and coloured plates in contrast / by J. Gardner Wilkinson.

London : John Murray, 1858. xvi, 408 p. : 8 gekl. pl., ill., tab. ; 23 cm.
John Gardner Wilkinson was born in 1797, the son of John Wilkinson, a clergyman, of Hardendale in Westmorland, and Mary Anne Wilkinson (ne Gardner). Through his mother he was related to the Crewe family of Calke Abbey in south Derbyshire. Wilkinson’s Egyptological work contributed to the foundation of that discipline in Britain, but his research and publications ranged beyond Egypt into architecture, aesthetics, international relations and the classics, as well as travel and the study of ancient Britain. Moreover, in his detailed water-colours and drawings, as in his extensive notes and ‘journals’ (now in the Bodleian), he recorded his impressions of the architecture, costume and contemporary society of all the countries he visited. This treatise is based on his observations on continental museums and their decoration, and he praises Jones’s Greek and Alhambra Courts at the Great Exhibition of 1851 as “admirable specimens of harmony of colour.” Importantly he displays a Ruskinian concern for the education of the “mass of the population”, and is dismayed that “the means of visiting objects of good taste that are afforded to the working classes of Italy, France, Germany and other parts of Europe”, are not available in England. He notes that the working classes are prevented by their work from visiting museums during six days of the week, and the best means of instructing them, the Crystal Palace, was still closed on the seventh day. It is no surprise that Wilkinson was among Ruskin’s favourite writers, and they exchanged letters. Ruskin thought this treatise “excellent in almost all points” but yielding “too much indulgence to that old idea that nature is to be idealised or improved when it is brought down to manufacture or decoration.” Ruskin’s book The Two Paths, Being Lectures on Art, and Its Application to Decoration and Manufacture, was published in 1859.

Eenige punten ter verklaring der moderne schilderkunst : voorgelezen op 13 october 1929 in het sted: museum te Amsterdam ter gelegenheid der tentoonstelling van Parijsche schilderkunst (esac.) / [Théo van Doesburg].

Parijs ; Leiden : “De Stijl”, 1929. [4] p. ; 25 cm.
Van juli 1928 tot december 1930 huurde Theo van Doesburg een atelier in Villa Corot op de Rue d’Arcueil 2 in Parijs. In oktober 1929 was hij in Nederland in verband met de door zijn vrouw Nelly georganiseerde tentoonstelling “Expositions sélectes d’art contemporain”, waarvoor hij een lezing gaf in het Stedelijk Museum in Amsterdam.

“Edelsteen” straatlantaarns en masten.

Breukelen : N.V. Industrieele Maatschappij v/h J.W. Bronwasser, [1930?]. 29 ongenummerde pagina’s, 14 pagina’s : hoofdzakelijk illustraties ; 29 cm.
Midden op de titelpagina: Exposition universelle d’Anvers 1930 medaille d’or. Inleiding in het Nederlands, Duits, Frans en Engels.

De nieuwe orde : inventies / H.Th. Wijdeveld.

Lage Vuursche : Elckerlyc, 1940. 42 p. : ill. ; 20 cm.
Exemplaar bevat een opdracht van de auteur aan Arnold Meijer (leider van het Nationaal Front).
De publicatie van dit boek in het oorlogsjaar 1940 en zijn deelname aan de totstandkoming van het bestuur van de Nederlandse Bond van Architecten tijdens de Duitse bezetting, riepen na de Tweede Wereldoorlog vragen op en bezorgden Wijdeveld (1885-1987) politieke problemen. Hij verdedigt zich met de woorden: “Alles wat ik zeg, alles wat ik spreek, alles wat ik leef, is De Nieuwe Orde” (bron: website NAi).