Beijing: Rong Bao Zhai, 1952. This is a faithful reproduction of the seventeenth century edition, made from re-cut blocks and even incorporating the blind-stamping technique of gauffrage (gonghua - embossed design). The original was first published in 1633. This edition was published in 1952 by the historian Zheng Zhenduo and the author Lu Xun. Complete work in 4 volumes with over 280 images. Wonderful woodblock prints and gonghua embossing on Xuan paper. Chinese text. In its original silk tapestry folding outer case, held together by bone clasps. Four soft back books in sandstone-coloured paper binding with gold flecks. The books and case are all in very good condition. One label has a tiny tear, now repaired with archival tape, and there is some very minor light spotting to a few pages. The label and silk to the outer shows minimal handling. 315 x 210 mm (12½ x 8¼ inches). Hu Zhengyan (胡正言) (c. 1584 – 1674) was a Chinese artist, printmaker and publisher. He worked in calligraphy, traditional Chinese painting, and seal-carving. Primarily he was publisher, producing academic texts as well as records of his own work.

. Il s'agit d'une reproduction fidèle de l'édition du XVIIe siècle, réalisée à partir de blocs redécoupés et incorporant même la technique du gauffrage (gonghua - dessin en relief). L'original a été publié pour la première fois en 1633. Cette édition a été publiée en 1952 par l'historien Zheng Zhenduo et l'écrivain Lu Xun. Ouvrage complet en 4 volumes avec plus de 280 images. Magnifiques gravures sur bois et gaufrage gonghua sur papier Xuan. Texte en chinois. Dans son étui d'origine en tapisserie de soie, maintenu par des fermoirs en os. Quatre livres à dos souple dans une reliure en papier couleur grès avec des mouchetures d'or. Les livres et le coffret sont tous en très bon état. L'une des étiquettes présente une petite déchirure et quelques pages sont légèrement tachées. L'étiquette et la soie de l'extérieur n'ont subi qu'un minimum de manipulations. 315 x 210 mm (12½ x 8¼ pouces). Hu Zhengyan (胡正言) (v. 1584 - 1674) était un artiste, graveur et éditeur chinois. Il a travaillé la calligraphie, la peinture traditionnelle chinoise et la sculpture de sceaux. Il était avant tout éditeur, produisant des textes académiques ainsi que des comptes rendus de ses propres travaux.

Paris: Maeght Lelong, 1983. First edition. Nice clean copy. The cover is stated as an original lithograph by Tàpies. There is also loosely presented a second original lithograph, signed in the plate. Slight foxing to the rear of the lithograph. No 7 in a series of illustrated catalogues by Galerie Maeght. Include 32 of Tàpies illustrations with details of them. 32 pages. 315 x 220 mm (12½ x 8¾ inches). Première édition. Bel exemplaire propre. La couverture est indiquée comme une lithographie originale de Tàpies. Une seconde lithographie originale est également présentée librement, signée dans la planche. Légères rousseurs au dos de la lithographie. N° 7 d'une série de catalogues illustrés de la Galerie Maeght. Incluez 32 illustrations de Tàpies avec leurs détails. 32 pages. 315 x 220 mm (12½ x 8¾ pouces).

1870. The label to the back of this black and white image states " Original-Graphik von Ernst Barlach" The image is clearly of Barlach. But it appears to be a lithograph of an ink original, rather than an actual ink drawing. It is difficult to be certain, as the paper has been secured to the glass at the edges, and could not neatly be removed (So we have left it secured). Although the image has marked similarities with other drawn works of Barlach, we have been unable to locate another copy of this image. There is possibly an artist's initials to the lower right of the frame (see pics). Underneath the frame, to the rear of the image, is written "6 abels wie ist 883" It is on heavy art paper, and in very good clean condition. Held in a white glazed frame. The frame has a few tiny nicks to the edges, but overall an attractive and striking portrait.
Image area 53cm wide by 35 cm high (13¾ by 20¾ inches). Frame area 67cm x 52.5cm. Ernst Heinrich Barlach (1870-1978) was a German expressionist sculptor, printmaker and writer. Although he was a supporter of the war in the years leading to World War I, his participation in the war made him change his position, and he is mostly known for his sculptures protesting against the war. He felt foul of the Nazi party and was labeled degenerate. He did produce a number of self-portraits - largely woodcuts.

London: Leadlay Ltd, 1931. Portfolio with original quarter vellum over gilt lettered grey boards. Small certificate of limitation pasted to the inside front board. Grey flaps hold loose card inserts. These comprise: a title sheet; a contents sheet; Note by Beerbohm, which is a facsimile hand written note on laid paper, tipped into grey card folder; 5 portraits by Beerbohm tipped into grey card folders. Subjects are Mr. Noel Coward, Miss Peggy Wood, Mr. Georges Metaxa, Miss Ivy St. Helier, and Mr. Charles B. Cochran. The vellum and boards have light markings to them, and a little bumping, but still very presentable. The grey folders have a touch of darkening to them. The tipped in illustrations are immaculate. 410 x 295 mm (16¼ x 11½ inches) Portefeuille avec quart de vélin d'origine sur des planches grises à lettres dorées. Un petit certificat de limitation est collé à l'intérieur de la première planche. Les rabats gris contiennent des encarts cartonnés détachés. Ceux-ci comprennent : un feuillet de titre ; un feuillet de contenu ; une note de Beerbohm, qui est un fac-similé d'une note manuscrite sur papier vergé, insérée dans une chemise de carte grise ; 5 portraits de Beerbohm insérés dans des chemises de carte grise. Les sujets sont M. Noel Coward, Mlle Peggy Wood, M. Georges Metaxa, Mlle Ivy St. Helier et M. Charles B. Cochran. Le vélin et les planches présentent de légères marques et quelques bosses, mais restent très présentables. Les chemises grises sont un peu plus foncées. Les illustrations incluses dans l'ouvrage sont impeccables. 410 x 295 mm

Netherlands: 1960. An original study, in pastels with three nude images. Perhaps a basis for sculpture, as the work shows torsos, and is more sculptural than erotic. The signature is difficult to decipher, but appears to be E Schepp or similar.  The work shows clear skill, and is in very good condition. Appears to have been drawn in the 1960's or 1970's Mounted in passe partout.  The work is held in a glazed wooden frame. The price shown here is for the pastel itself, in the passe partout, but unframed. If you wish the frame, then this is also possible for a small additional cost. (Most of the additional cost is the difficult shipping!) Image 56.6cm x 44.5cm. Frame 77cm x 66cm Une étude originale, aux pastels secs avec trois images de nus. Peut-être une base pour la sculpture, car l'œuvre montre des torses, et est plus sculpturale qu'érotique. La signature est difficile à déchiffrer, mais semble être E Schepp ou similaire. Le travail montre une habileté évidente, et est en très bon état. Semble avoir été dessiné dans les années 60 ou 70 Monté dans passe-partout. L'œuvre est conservée dans un cadre en bois vernissé. Le prix indiqué ici est pour le pastel lui-même, dans le passe-partout, mais non encadré. Si vous souhaitez le cadre, cela est également possible pour un petit coût supplémentaire. (La majeure partie du coût supplémentaire est l'expédition difficile !) Image 56,6 cm x 44,5 cm. Cadre 77cm x 66cm

Frankfurt: A.M. Mallet, 1719. A pair of copper engravings of the heavens. The first shows three globes floating in the sky, an active seaside scene across the bottom including boats, an old coastal village scene, etc. The globes show the Anteciens, the Perieciens and the Antipodes. These are too small to have been of use to a navigator, and were purely decorative. This is numbered plate 49 to the corner. The second, labelled plate 71 shows a pastoral scene, above which there is a disc showing the sun and the astrological symbols. These were issued by A.M. Mallet in 1719, although these would appear to be slightly earlier impressions (without German text overlaid). Both of the engraved plates are held under a mounting boards, with gilt edged window. The mounts have very slight bumped, but are in good, clean condition. The plates are good impressions, and cleanly mounted. Plate 71 has a slight crease to the right edge, with a "crack" of loss of ink. This would seem to have occurred at the time of printing. Overall in very nice condition. Size of the engraving is 150 x 105 mm (6 x 4¼ inches). The size of the mount is 280 x 225 mm (11 x 8¾ inches).

Antwerp: Stockmans, 2005. A lovely copy of this Catalogue raisonné of Liekens' work. Colour pictorial cover. Frontis photograph of Liekens. Signed with a small doodle of a chained dog to the half title page. 122 pages. Full of colour and black and white images. Almost as new. 290 by 290 mm (11½ by 11½ inches).
Liekens is a Belgian artist, born in 1977, who lives and works between Antwerp and Berlin. Bel exemplaire de ce Catalogue raisonné de l'œuvre de Liekens. Couverture illustrée en couleur. Photographie Frontis de Liekens. Signé d'un petit griffonnage représentant un chien enchaîné sur la page de faux titre. 122 pages. Plein d'images en couleur et en noir et blanc. Presque comme neuf. 290 par 290 mm (11½ par 11½ pouces).
Liekens est un artiste belge, né en 1977, qui vit et travaille entre Anvers et Berlin.