Leipzig: A. Schumann's Verlag, (ca. 1910). 1 pp. + Plates . Illus. with 100 mounted b/w photos with titles. Folio. 35 x 27 cm. Half bound brown leather over cloth folding portfolio with ties. n.ed. Boards a bit rubbed, one tie missing, some minor tape repairs to inner portion of flaps, but still a very good copy.
Montevideo: Librería y Papelería del Ateneo, Sierra y Antuña, 1896. 55 pp. 12mo. Disbound. First edition. Juan Bautista Diogenes Hequet (1866-1902) was a Uruguayan painter and lithographer who produced an historical series of paintings entitled "National Episodes" on the Uruguayan War for Independence. This work is a textual description of ten of the paintings. Rare. Palau 13341 notes only a related item by the same author. OCLC lists a single copy at Berkeley. Not in BN Uruguay or any other Latin American Library catalogues. Removed from a larger volume, closed tear to inner margin of first few leaves, bookseller's stamp on title page, otherwise contents about very good.
London, New York: W. Heinemann; Dodd, Mead & Company, 1901. 50 leaves. Illus. with b/w plates. 4to. Red cloth portfolio. First edition. Volume 2 of the limited edition of 110 copies which had two portfolios of duplicate plates, one on India paper and one on Japanese vellum. This contains the fifty plates on India paper. Portfolio is very worn, spine chipped, flaps loose; fair only; plates are still quite crisp with only a hint of darkening to the edge of the margins. Uncommon.
Munich (Munchen): R. Piper & Co. (1963). 56 pp. Illus. with 42 b/w photos. Sm. 8vo. Illustrated paper-covered boards. First printing. In German. the work of Ernst Barlach (1870–1938), German expressionist sculptor, graphic artist, and writer. Corners rubbed else a near fine copy in a near fine glassine dust jacket.
[Paris]: Les Éditions G. Crès et Cie, (1929). 87 pp. + plates. Illus. with 72 b/w plates and 10 drawings. Sm. 8vo. Three quarter calf over marbled boards, spine decorated in gilt, top edge gilt, marbled endpapers, silk bookmark sewn in. First edition. The first of what would be two volumes. A very good copy, lacking the title page, foxing to first few leaves including half-title, crease to corner on 2 leaves of plates, in a beautiful binding.
Châtenay-Malabry, Éditions Lefort, (1960). Unpaged [29 pp]. + plates. Illus. with 62 tipped-in color plates. Folio. Loose folded sheets in stiff paper wrappers in clamshell. First edition. Jules Romains, preface. Signed by the artist on an original color drawing with dedication preceding the title. No. 568 of 1916 of the "édition de luxe, sur papier offset de sorel moussel" (out of a total limitation of 2,000). Bencjon Benn (1905-1989) was born in Bialystock (Russia/Poland) into a prominent family of Jewish scholars and professionals. In 1930 he was awarded a scholarship for three years to study art in Paris where he quickly established his reputation. World War II brought an end to that life, and he was forced into hiding by the Gestapo for over two years and eventually interred in the Beanne Le Rolande camp. During this time he found inspiration in the bible and that spiritual side exploded in this work, “62 Psalms of the Bible,” produced after the war when he had adopted the name Benn, and went on to write and and illustrate over 100 books on the Bible. Fine contents in a bright wrapper with two small tears at the rear hinge in soiled clamshell boxed, expertly reinforced at the edges.
London: George Bell And Sons. 1910, 1912. xiv, 152 pp.; xii, 152 pp. Illus. with 43 & 42 b/w plates. 8vo. Cloth. Later printings. The first two books of Berenson's series. First Series: Vasari in the light of recent publications; Dante's visual images, and his early illustrators; Some comments on Correggio in connection with his pictures in Dresden; The fourth centenary of Correggio; Amico di Sandro; Certain copies after lost originals by Giorgione; Ventian painting, chiefly before Titian, at the exhibition of Venetian art. Second Series: The Caen "Sposalizio;" Alessio Baldovinetti and the new "Madonna" of the Louvre; The British museum "Raphael" cartoon; The drawings of Andrea Mantegna; A word for renaissance churches; Certain unrecognized paintings by Masolino; An unpublished masterpiece by Filippino Lippi; An alter-piece by Girolamo da Cremona; Rudiments of connoisseurship. Wear to spine ends else very good crisp copies. A nice set.
München: Photographische Union, . [3 lvs], 40 lvs, viii pp. Illus. with 40 plates with tissue guards. Folio. Full morocco, gilt title on front board, top edge gilt, decorated endpapers. First edition. List of plates, 8 page chronological list of Bocklin's works; brief biography laid in loose. The first volume of what would eventually encompass four volumes. Arnold Böcklin (1827-1901) was a Swiss-German painter, whose symbolist works were influential in the late 19th and early 20th centuries. "...the art of Arnold Boecklin deserves to be ranked with the great art of the world. His genius has issued as victor from the restless conflict between the real and the ideal, which in our time has been more violent than ever. It has called to new life the fair creatures of fancy that peopled the groves of Greece and the realms of romance. Phoenix-like, they have risen from the holocaust to which they had been consigned by rationalism. Vitalized into poetic symbols of reality they re-animate nature, which had been vivisected and sterilized by scientific analysis until it was reduced to a series of mere formulas" (Amelia von Ende, 'Arnold Boecklin', The Craftsman,1905, v.8 p. 747). A very good copy, extremities worn, scattered foxing on text leaves and mainly on margins of plates, images sharp.
Londres / Haarlem: H. Kleinmann & Cie, (1905). (xii), Leaves . Illus. with 47 of 50 duotone plates. Folio (40 x 32 cm.). Gray cloth portfolio. First printing. Thick leaves with embossed borders. A few plates mislabeled. Uncommon. OCLC and RLIN list only copies at Cambridge, Bibliotheque d'art et D'archeologie, Clark Art Inst., MFA Boston, The Frick, and Harvard. Boards soiled, leaves darkened at the edges but not affecting illustrations, edgewear to two leaves. Very good but for the few plates lacking.
Paris: Yves Rivière, (1974). 9,  pp. Illus. with 5 color plates (2 double page) and 14 in-text drawings. 4to. (34 x 26 cm). Loose folded leaves, as issued, in a chemise and illustrated slipcase. First edition. One of 450 copies signed on colophon page by Alechinsky and Caillois. En fac-similé de la dactylographie originale due texte, avec corrections manuscrites de l'auteur. Fine copy in a lightly rubbed chemise and very good soiled slipcase. Alechinsky, The Complete Books (2002): 38. Sicard, Alechinsky: Travaux d'impression: 30.
Paris: P. Rouquette, 1886. xxii, 755 pp. Sm. 4to. Three quarter chocolate morocco over marbled boards, five raised bands, gilt titles, original wrappers bound in, marbled endpapers. Fifth edition. Roger Portalis, ed. Fifth edition of the standard reference on 18th c. books illustrated with engravings. Provenance: Carl Sternheim, the German expressionist playwright with this bookplate from his library at La Hulpe and Melchior, with his bookplate illustrated by Gotz. A very good copy, spine scuffed and a bit brittle, title page repaired on verso, scattered foxing, illustrated bookplates on both front endpapers, one leaf corner with large chip (not affecting text). Artzen N20.
La Jolla, Calif. Colman, 1936. xxii, 89 pp. 36 b/w illustrations. Sm. 8vo. (5 3/8 x 7 1/2 in.). Redwood with cloth strips, handpainted titles, paper label, rope ties. First edition. Signed and numbered by Colman on the limitation page. This is number 237 of 500 copies. "The cover of this first edition is made of California Redwood, handprinted on my antique press and bound in my studio at Bird Rock-by-the-sea, La Jolla, California." Roy Clarkson Colman (1884-1945) was a La Jolla artist and poet whose work had been covered in the "International Studio." Contains poems and prints. Scarce California title. OCLC shows only nine copies of which all but 3 are in California. One rope tie a bit shortened, rear board mildly rubbed else a fine bright copy.
London: J. M. Dent, 1902. xix, 363 pp. Illus. with 150 +b/w photos & drawings. Sm. 4to. Cloth with gilt decorations; top edge gilt. First edition. A good solid working copy, front hinge split, rear hinge repaired with thread, endpapers repaired at joints, but still holding nicely, contents clean and unmarked, and overall more than useable. Freitag 10739.
Lincoln: Univ. Nebraska Press, (1988). xv, 270 pp. Illus. with b/w photos. 8vo. Cloth. First edition. Inscribed by the author. Exhibition announcement of Ney's work showing a woodcut of Liendo, laid in loose with original sales receipt. A fine copy in a very good dust jacket with a few small closed tears at top edge.
New York: French & European Publications, 1962. 61 pp. Illus. with 30 laid-in color reproductions. Sq. 8vo. White muslin with salmon lettering. n.ed. Vol. 1 in the Rhythm and Color Series. trans. Diana Imber. Sisley was one of the leading Impressionists. About fine in a near fine dust jacket in a darkened card slipcase.
München: Albert Langen, n.d. (ca. 1920). 219 pp.; 67 pp. + plates; 31 pp. + plates; 25 pp. + plates. Vol. I: 522 reproductions; Vol. II: 47 in-text drawings and 72 plates; Vol. III: 19 in-text drawings and 72 plates; Vol. IV: 15 in-text drawings and 72 plates. Folio. Cloth. First edition. Catalogue raisonné of Daumier by the the noted German scholar and collector Eduard Fuchs (1870-1940) who at that time had the largest Daumier collection in Europe. Very good copies, boards lightly rubbed, illustrated bookplate on free front endpapers, tiny booksellers ticket on rear pastedown, light foxing to preliminaries, endpapers, and/or fore edges; tight binding, contents clean; Vol. I with light soiling on boards; Vol. II-III-IV with light browning to plates, mainly the edges. Freitag 2542 & 2543.
München: Verlag von Albert Langen, (1917). 95 pp. Illus. with 477 b/w plates and reproductions. 4to. Cloth. Viertes bis sechstes tausend. "Gustave Doré verfasste und illustrierte das vorliegende historische Bilderbuch zur Geschichte des russischen Absolutismus in Paris um das Jahr 1854." Tear at top of rear joint else a very good copy, illustrated bookplate on free front endpaper, tear to rear endpaper, leaves browning.