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Art and Illustration::

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Art and Illustration::

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Candide, by Voltaire [François-Marie Arouet]. Illustrated by Gus Bofa., ANTHOINE-LEGRAIN, Jacques [Binder]
1 ANTHOINE-LEGRAIN, Jacques [Binder] Candide, by Voltaire [François-Marie Arouet]. Illustrated by Gus Bofa.
Paris: Librairie des Champs-Élysées, 1932. 
4to. With 33 coloured plates and 32 illustrations in the text by Gus Bofa. Limited to 100 copies, on Arches and with a suite of illustrations in black. Of these, this is number IV of 14 hors commerce copies, containing a number of trial proofs on Chine. Bound in light blue morocco, with a design of gilt rays spreading in from a small central white inlay, one band inlaid in darker blue calf, wide inside borders similarly inlaid and gilt; brown suede flyleaves and pastedowns, gilt edges. In card chemise [some repairs to the verso of the chemise] and leather trimmed card slipcase. Jacques Anthoine-Legrain was the step-son of Pierre Legrain and took over the business after Pierre's death in 1929. They were at the forefront of the Art Deco and Modernist movement in French bookbinding. This is a stunning example of his work carried out on the smallest limitation of the rarest of Bofa's illustrated books; this is the only copy ever seen at auction, being sold by Sothebys in 1969 as part of the celebrated sale of Fine French Illustrated Books and Bindings, the Property of Senhor Nicolau Lunardelli. 
Price: 12500.00 GBP
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Covent Garden Flower Market., BAWDEN, Edward
2 BAWDEN, Edward Covent Garden Flower Market.
Curwen Studios, [1967] 
Original colour lithograph, image size 24 x 18 inches. A little very gentle creasing but an excellent copy of a scarce print issued in an edition of 75; one of the "Six London Markets" series. This copy is unsigned and bears the Curwen Press Proof Stamp to the verso. 
Price: 1500.00 GBP
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Watercolour Designs for the Poems of Thomas Gray., BLAKE, William
3 BLAKE, William Watercolour Designs for the Poems of Thomas Gray.
The Trianon Press for the William Blake Trust, 1972. 
Number 12 of 36 special copies with extra material. Folio. 2 volumes in slipcase. Frequently described as the Trianon Press masterpiece, this is undoubtedly a magnificent work contending for the title of one of the greatest pieces of 20th century printing. The edition was limited to 518 copies, printed on specially made Arches pure rag paper made to match the paper used by Blake. 12 copies numbered I to XII, in three volumes, full morocco, with an additional portfolio containing a series of progressives showing the stages in the hand-stencil colouring of a single plate, together with original guide-sheets and stencils and other material used in the making of the facsimile, presented in a matching box. 36 copies numbered 1 to 36, unbound in the French style, in a full morocco portfolio, with an additional portfolio containing technical material as in copies I to XII, in a matching box. 352 copies numbered 37 to 388, in three volumes bound in quarter morocco, or unbound in the French style in a quarter morocco portfolio, presented in a matching box. 100 copies numbered 389 to 488 are reserved for Mr. Paul Mellon. 18 copies numbered A to R are hors commerce. This copy is Number 9 of the 36 special copies. The watercolour designs were reproduced by the collotype and hand-stencil process in the workshops of Trianon Press (France) in Paris. The text of Gray's poems was printed on pure rag laid paper from copperplates, using three additional printings to reproduce Blake's pencil crosses and to obtain the tone of the paper. The illustrations were commissioned by Blake's friend John Flaxman in around 1796. On the death of his wife, they passed by sale to William Beckford of Fonthill Abbey, then by descent through Beckford's daughter to the Duke of Hamilton, finally by sale to Paul Mellon. Although known of, and occasionally viewed by a select few, during the whole of this period it was never shown in any exhibition of Blake's works. Due to the generosity of Paul Mellon who entrusted them for a period of 4 years to Arnold Fawcus of the Trianon Press, this is the first time they have been reproduced. Fawcus and the Trianon Press set themselves exceedingly high standards of production, aiming for complete accuracy of Blake's designs, and several times had to abandon a plate when it failed to meet their critical eye. Comprising: 1. Watercolour designs for the poems of Thomas Gray. 116 full page printed designs hand coloured using the stencil process, printed on one side only, the separately printed text laid on. Together with a note from the printer, introduction and commentary by Geoffrey Keyes. This section unbound in the French style, with a full morocco case. The early pages have some light foxing, and the case is a little scuffed. 2. Technical material. A. The Fatal Sisters [Plate 3], the complete series of 32 collotype and hand coloured progressive states. B. The 12 hand-cut guide-sheets and stencils for plate 3. C. The three collotype negatives for plate 3 corrected by hand. D. A selection of 20 finished colour plates 'for framing'. E. A made up sheet with one of the copper plates used for Gray's text together with the three printing states. F. 'Ode on the Spring', & 'Ode to Adversity'; the complete series before hand-colouring and other early proof plates. Each section enclosed in a paper portfolio; the whole contained in a full morocco drop down box. Both sections held within a morocco backed solander with marbled sides, some light spotting to the preliminaries, the base of the box showing shelf wear and one of the short outer joints split. 
Price: 3500.00 GBP
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Lyons Tea Rooms Coronation Designs., FREEDMAN, Barnett
4 FREEDMAN, Barnett Lyons Tea Rooms Coronation Designs.
Lyons Tea Rooms, 1953. 
2 large sheets, each 61 x 41 inches. A little marginal tearing but with practically no loss. Barnett Freedman had previously worked with J. Lyons and Co., overseeing the production of the fine series of Lyons Lithographs in the 1940s. He was therefore a natural choice when the tea rooms needed a set of uniform designs for their windows to celebrate the Coronation of Queen Elizabeth II. Intended to be cut up and mounted in the windows as decorative bunting and colour displays these are obviously a rare survival. 
Price: 3250.00 GBP
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The Darts Champion. 13 sheets - colour separation and progressive proofs., FREEDMAN, Barnett
5 FREEDMAN, Barnett The Darts Champion. 13 sheets - colour separation and progressive proofs.
Guinness, [1956] 
A Rare complete set of colour separation proofs and progressive proofs for this famous image. Each sheet 29 x 19 inches plus blank borders. A rare complete series of progressive proofs for this famous image, 13 sheets in all showing the individual colours printed separately as well as progressively. A little minor creasing and a few short tears to the border of the final proof otherwise in excellent state. Probably a unique set. Progressive proofs for lithographs are very uncommon. I have never previously seen a set which also includes the colour separation proofs. 
Price: 2950.00 GBP
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Preparing the Coronation Coach., JONES, Barbara
6 JONES, Barbara Preparing the Coronation Coach.
Royal College of Art, 1953. 
Original coloured lithograph, image size approximately 17 x 12.5 inches. Old tape stains to the verso but as the paper is thick there has been no bleed through. SIGNED BY THE ARTIST. Commissioned by the Royal Commission Trust to celebrate the Coronation of Queen Elizabeth 2. 
Price: 1500.00 GBP
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Cirque Molier. Scrapbook assembled by Raoul de Frechencourt, Secrétaire-Général of the Circus., MOLIER, Ernest
7 MOLIER, Ernest Cirque Molier. Scrapbook assembled by Raoul de Frechencourt, Secrétaire-Général of the Circus.

Comprising a copy of Cirque Molier 1880 – 1904, by Ernest Molier. Paris: Paul Dupont, 1904. 4to. pp. 199, [3]; illustrations. Presentation copy inscribed on the end paper « A mon excellent Collaborateur [---?] Raoul de Frechencourt. Bien affectueux souvenir E. Molier. » Retaining the original wrappers but loose in a larger album with bound in at the rear an extensive archive of programmes, photographs, admission cards, ephemera, articles etc. The end paper bears the library label of Bibliothèque de Frechencourt. Contemporary half morocco, disbound and many sections loose. An unparalleled archive with an impeccable provenance, this contains an extensive collection of material dating from the establishment of Cirque Molier in 1880, up to 1914. It is likely that the Circus went into a hiatus during the Great War, restarting after the war, finally closing in 1934 following the death of Molier. Included is a virtually unbroken sequence of 42 programmes and handbills from 1880 – 1914; 15 detailed reviews and articles, a couple signed by Molier; approximately 30 cards and invitations, some signed, two with long notes by Molier; over 30 original photographs of the circus including camels, dressage, tableaux vivants, etc. [includes one with a nude trial tableau]; a number of menus for the dinners which took place after the performances; a fantasy original watercolour showing Molier levitating above two horses, one ridden by a young girl, the other by a wolf. Cirque Molier [1880 – 1934] was the first amateur [private] circus in the world, established by Ernest Molier, producing a charity gala once a year at his home, Hotel Molier on the rue de Bénouville in Paris. His performers came from the highest echelons of French society, with aristocracy and gentry amongst their number. Initially his performances consisted of typical circus acts including clowns, dressage of horses, feats of strength and acrobats, but he became more adventurous and later introduced camels, tableaux, playlets, old-time fencing in the form of vignettes, etc. This circus was a privately owned circus, a “cirque mondain” put at the disposal of amateurs, usually friends and acquaintances of Molier who vied for the honour of performing not only haute école or equine acrobatics, but also other circus acts. The Cirque Molier was situated in the Rue Bénouville, right next to the Bois de Boulogne and formed part of Molier’s hotel particulier. The circus had an excellent ring and a large hall to seat the spectators. The opening night occurred on 21st March 1880. Friends, relatives, and acquaintances were invited. The invitation read: “We will do a little equitation, a little acrobatics and then we will eat tripe à la Bénouville.” The seats were not the most comfortable, but Molier had tried to make the atmosphere more festive by creating a Spanish motif. Present were the upper bourgeoisie and aristocracy of the horse world: le Prince de Sagan, le Prince de Chenay, le Baron d’Orgeval, le Duc de Morny, le Comte d’Osmond, etc. To enliven the evening, professional écuyères such as Fanny Lehmann, a delicate rider, yet energetic, always in harmony with her horse, known as the Sarah Bernhardt of equitation, and a few others, were asked to participate. The actress Alice Lavigne was also included among the amateurs of the Cirque Molier. Men such as le Comte de Beauregard and le Comte de Maulde performed equestrian acts; le Comte Hubert de la Rochefoucauld and others performed at the trapeze and the fixed bar. The evening was so successful that it was agreed that there would be a repeat performance the following year. Indeed, each year the Cirque Molier gave its annual spectacle until 1933. To these yearly performances Le Tout-Paris came. Even the demi-monde, and the horizontales de grande marque were received. While a certain amount of frivolity animated these evenings, the enthusiasm of the members of high society, and the enthusiasm and skill engendered by Molier himself, gave the Cirque Molier a special animation and cachet. The original ideas and the talent that came to the fore, gave the Cirque Molier a certain stamp of distinction. Even Molier’s acrobats, jugglers and clowns came from Le Tout-Paris. They were mostly amateurs, performing their acts for fun and doing them well, capable of competing with the professional écuyers and écuyères, acrobats, and clowns. The women also came from Le Tout-Paris, those who wanted to perform and show off their skills as horsewomen, as did many of the écuyères performing in the circus on a professional basis. Molier was in no way in awe of those titled amateur performers. They, too, were given broom and shovel with which to pick up manure. 
Price: 12500.00 GBP
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Brighton Aquatints; with an Introduction by Lord Alfred Douglas., PIPER, John
8 PIPER, John Brighton Aquatints; with an Introduction by Lord Alfred Douglas.
Curwen Press, 1939. 
Oblong Folio. pp. 12 monochrome aquatints with accompanying text on blue paper. Original cloth backed boards, a little faded and upper cover a little damp stained. Issued in an edition of only 200 copies. Signed by the artist on the end paper; a later inscription on the front pastedown reads "signed by John Piper from the library of Osbert Lancaster." 
Price: 3500.00 GBP
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A Survey of Persian Art From Prehistoric Times to the Present Day., POPE, Arthur Upham and ACKERMAN, Phyllis
9 POPE, Arthur Upham and ACKERMAN, Phyllis A Survey of Persian Art From Prehistoric Times to the Present Day.
Oxford: at the University Press, 1938 - 39. 
First Edition. Six volumes. Folio. pp. xxviii, 895; xi, 897–1807, with a folding plate; xi, 1809–2817, with a folding map; xiv, with plates numbered from 1–510 (six coloured); xii, with plates numbered from 511–980 (97 coloured); xii, with plates numbered from 981–1482 (92 coloured). Original blue buckram, a little faded on the spines and with some slight wear but generally a sound set of an important work. 
Price: 1350.00 GBP
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