1884. A beautiful sketch book by an unknown French artist. This contains sketches of landscapes of Northern France. Also ships and parts of ships, and ink portraits of gentlemen. The landscapes is often around St. Malo. All skillfully executed in pencil, ink or charcoal. In total there are 13 pages of landscapes, 13 of portraits, 12 of ships and boats and 4 other sketches. There are also a few others not significant. All drawn between 1884 and 1900 - these are created by a skilled hand. There is a poem dedicated to 'Justine', with ends with the author / artist's name Louis de Crèvecoeur. 105 x 170 mm (4¼ x 6¾ inches). Un beau carnet de croquis d'un artiste français inconnu. Celui-ci contient des croquis de paysages du Nord de la France. Aussi des navires et des parties de navires, et des portraits à l'encre de gentilshommes. Les paysages sont souvent autour de Saint-Malo. Tous habilement exécutés au crayon, à l'encre ou au fusain. Au total il y a 13 pages de paysages, 13 de portraits, 12 de navires et bateaux et 4 autres croquis. Il y en a aussi quelques autres non significatifs. Tous dessinés entre 1884 et 1900 - ceux-ci sont créés par une main habile. Il y a un poème dédié à "Justine", qui se termine par le nom de l'auteur/artiste Louis de Crèvecoeur. 105 x 170 mm.

Na. A lovely large format photograph album of a tour of England and Wales in 1893. There was also a tour of Bavaria, Salsburg and Innsbruck in 1895.

The album starts in 1893 and has 38 photographs (mostly Albumen) of England and Wales. These are mostly large (24cm x 32cm) images. There are some smaller (18.5 cm x 23.5cm). They appear to be commercially purchased photographs. There are also a further 9 smaller (17cm x 22cm and 12cm x 18cm) images of cottages with descriptions on the back. These seem to be personally taken photographs?

The trip began with the Needles on the Isle of Wight, (24cm x 32cm) and continued with similar photographs of the Isle of Wight, Tennyson's house, Southsea & Portsmouth, Tintern Abbey. The tour then moved on to Wales, and there are photographs of North and South Wales, with quite a few of Betws-y-coed, and some bridges in the area. The trip moved on to Chester, with a number of photographs of Eaton House in Chester, and Hatfield house.

A second part of the album covers a trip in 1895, comprising 23 photographs of Bavaria, Salzburg and Innsbruck.

The photographs are all of good condition, still bright, with a touch of fading only. A few have light creasing, or the odd tear where they have come away from the album at some point, but overall a very presentable and attractive album of English and European topography from the 1890's. The album itself is black buckram with leather spine and corners. There is some rubbing to the boards, and some scuffing. A tape repair (with black tape) to the spine. The album measures 37cm x 45 cm. The photographs have hand written annotations below describing the view. There is some staining to the inside boards of the album and a few of the cardboard backing sheets are wavy, but this doesn't really affect the photographs.

New York: Arianne Lancell / Alsparck, 1983. Original lithograph of a bearded man in a Winter hat. Part of a suite of work based on Carmilla, the gothic novel by the Irish writer Sheridan Le Fanu. Signed in pencil. Numbered 29 / 297 copies. Authenticated by the artist's own dry stamp (a cat's head). On vellum. Very good condition as the work has never been framed. Sold unframed. 555 x 455 mm (21¾ x 18 inches).
The description for this character in the novel reads: This evening there arrived from Gratz the grave, dark-faced son of the picture-cleaner, with a horse and cart laden with two large packing cases, having many pictures in each. Lithographie originale d'un homme barbu dans un chapeau d'hiver. Fait partie d'une série d'œuvres basées sur Carmilla, le roman gothique de l'écrivain irlandais Sheridan Le Fanu. Signé au crayon. Numéroté 29 / 297 exemplaires. Authentifié par le propre tampon sec de l'artiste (une tête de chat). Sur vélin. Très bon état car l'oeuvre n'a jamais été encadrée. Vendu sans cadre. 555 x 455 mm (21¾ x 18 pouces).
La description de ce personnage dans le roman se lit comme suit : Ce soir arriva de Gratz le fils grave et sombre du nettoyeur de tableaux, avec un cheval et une charrette chargés de deux grandes caisses d'emballage, contenant chacune de nombreuses images.

Reynès: Éditions de l'Eau, 1989. First Edition. Oblong small quarto. Folded gatherings and plaid laid in to printer wrappers. In a silk covered slipcase. First edition. 6 original etchings engraved in black and burin by Albert Woda, and 6 full-page calligraphies by Franck Lalou. Limited edition of 70 numbered copies on Rives vellum paper for text and natural Arakajii japo for calligraphy, signed by both Woda and Lalou. One of 50 copies numbered from 8 to 57, this is number 24. Silk covering the book has become detached in some areas, and has some stains. Internally the book is spotless. Première édition. Petit in-quarto oblong. Rassemblements pliés plaid dans les emballages de l'imprimante. Dans un étui recouvert de soie. Six eaux-fortes originales gravées au noir et au burin d'Albert Woda, et six calligraphies à pleine page de Franck Lalou. Tirage limité à 70 exemplaires numérotés sur papier vélin de Rives pour le texte et japo naturel Arakajii pour la calligraphie, signés par Woda et Lalou. Un des 50 exemplaires numérotés de 8 à 57, il s'agit du numéro 24. La soie recouvrant le livre s'est détachée par endroits, et présente quelques taches. En interne, le livre est impeccable.

Paris: Au Bureau du Journal, 1840. First Edition. 24 plates of hunting scenes, each with captions in French, followed by 6 leaves of fanfares (text and music printed to one side of leaf only). A Scarce item, none for sale and only occasionally at auction. Moderate foxing throughout. Creasing to front free endpaper. In contemporary buckram binding with slight rubbing to the binding. Première édition. 24 planches de scènes de chasse, chacune avec légendes en français, suivies de 6 feuillets de fanfares (texte et musique imprimés sur un seul côté du feuillet). Un article rare, aucun à vendre et seulement occasionnellement aux enchères. Des rousseurs modérées partout. Pliage à l'avant de la page de garde libre. Dans une reliure en bougran de l'époque avec un léger frottement à la reliure.

London: Elliott & Fry. Albumen image. Profile of Ruskin. Although undated, the image would seem to be Circa 1870. Printed on mount, recto: "John Ruskin M.A., L.L.D. // Elliott & Fry Copyright 55 Baker St London W." Printed to Verso: "Elliott & Fry // Photographers // 55 Baker St, London // W." To the bottom of the verso is printed "Marion, imp Paris" and embossed "Marion & Co. London."It is also printed "No." but no number is written. The photograph was taken in 1867 when Ruskin was 48.
165 by 110mm (6½ by 4¼ inches). The same image is lodged with the National Portrait Gallery. Here it does not have Ruskin's name (but does have the photographer's details. This is catalogued as a carte-de-visite. and dated 1867. Presumably the photographer issued the photograph of Ruskin shortly afterwards. This is referenced NPG Ax39887. The Albumen Process was developed in 1847, and was the first commercially exploitable method of producing a photographic print on a paper base from a negative. It was the dominant form of photographic positive until the turn of the century.

New York: Random House, 1967. 1st edition. Signed twice by Warhol: to title page and to Hunt's 'tomato can' page. Stiff metallic wrappers showing some wear and with crease at back cover. As ever, the contents are in varied states of repair. This is the softback edition. In this copy: Pop-up castle in fine condition; Red accordion present, but doesn't make sound; Pop-up plane in fine condition; Chelsea Girls ad with spring attached; Dodecagon is missing, black string attached; Lou Reed pictorial record missing; Tri-fold pink and rainbow noses present; Pop-up tomato paste can in fine condition (with signature to page); For A Big Surprise!!! three tabs still attached; Balloon glued to pages, (this seems to be universal).
A little rubbing and bumping, with minor handling, but in excellent condition apart from the flaws mentioned here. Unpaginated - 280 x 215 mm (11 x 8½ inches). Alan Rinzler said "The two simultaneous editions, in cloth and paper, sold out quickly and the book is now a valuable out-of-print work of original Warhol art". Rinzler was consulting editor of the Loft 1967-1969. Involved in "producing with him [Warhol] in a very collaborative creative process The Andy Warhol Index Book, a large format heavily designed book with special fold-out and pop-up features, photos, audio recordings, and text.

In 1965, a photographer named Billy Liar had come to me with an idea for a photo book on Warhol and his factory, but when he brought me there, I took the opportunity to ask Andy if would like to participate more personally in creating a book that was also work of art, something he actually put together, as the author. And not just photographs and text but other ideas we could cook up that related to everything else he was producing at the time. Luckily, Andy was happy to agree and became the author of the book."
Alan Rinzler in his "Andy Warhol" blog post on his website.