20 pp. 8vo (198 x 125 mm.), modern aubergine cloth (head of spine a little worn), title on upper cover. Paris: Félix & Regnault-Delalande, 1822.
An extremely rare auction catalogue inventorying the collection of an obscure painter active at the turn of the century. A contemporary annotator has written in the surname for this anonymous sale on the title-page, corroborating Lugt’s attribution. An 1817 almanac of Paris records a painter with the same surname working at rue de Rohan, 6. Viglianis also exhibited a landscape at the 1814 Salon — no. 948 in the exhibition livret.
184 lots, consisting primarily of prints (lots 1-132) by artists such as Bartolozzi, Bervic, Bloemaert, Cochin, Le Bas, Desnoyers, Earlom, Green, Ingouf, Massard, Morghen, Strange, Wille, Woollett, etc. We then find original engraved plates by a number of contemporary artists. The final section of drawings includes the work of Bruandet, S. Gessner, H. Robert, and “Joseph Pascal Viglianis,” presumably the seller. With the list of vacations on the final page.
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20 pp. 8vo (198 x 125 mm.), modern aubergine cloth (head of spine a little worn), title on upper cover. Paris: Félix & Regnault-Delalande, 1822.
Engraved vignette on title, 19 finely engraved plates (some folding), one engraved headpiece & several woodcut diagrams in the text. 12, 116, 120,  pp. Large 4to (245 x 210 mm.), cont. paste-paper boards (slightly worn), red morocco lettering-piece on spine. Frankenthal & Mannheim: C.F. Schwan, 1779.
First edition of an uncommon history and examination of ancient warfare with a series of illustrations of formations, famous battles, and many types of siege craft. Baumgärtner (1743-1809), historian of classical Greece and Rome and civil servant, wrote several works on ancient art in addition to military history.
In this book, he expounds on and compares the military traditions of the Greeks and Romans. He exhaustively describes their tactics, formations, uniforms and their iconography, weapons, siege techniques, siege weapons, etc. There is also in-depth discussion of military leaders and what made them successful. The illustrations of battles, such as the one showing a phalanx (pl. XI), are quite dramatic.
Illus. throughout (four in color). 39,  p. Small 8vo (151 x 106 mm.), orig. printed stiff wrappers, staple-bound. [From colophon]: La Rochelle: .
A very rare catalogue for an exhibition held 20 November 1987-3 January 1988 at the Maison de la Culture de la Rochelle et du Centre-Ouest. The exhibition consisted of pieces from Boltanski’s earlier work which are pictures taken by Annette Messager, as well as photographs of a 1987 performance of choreography conceived by Boltanski and Dominique Bagouet.
In near fine condition. WorldCat records only one copy in North America.
iv, -25, 4,  pp. 8vo (227 x 139 mm.), orig. printed wrappers (spine defective), stitched as issued. Boston: J. H. Eastburn, 1833.
A very scarce exhibition catalogue consisting primarily of paintings from the collection of the early English telegraph engineer John Watkins Brett (1805-63). Most of the paintings in this exhibition were for sale, including Brett’s. In total, there were 124 Old Master and contemporary pictures, in addition to 29 miniatures listed at the end. This exhibition was one of several Brett conducted while touring the United States between 1832 and 1837 — with other stops at the American Academy of the Fine Arts...
Three black & white illus. 9 unnumbered pages. 8vo (210 x 135 mm.), orig. gray printed wrappers (a little sunned), staple-bound. Paris: P. Rosenberg, 1936.
A scarce Braque exhibition catalogue of paintings made since 1931, featuring mostly still lifes along with two nudes. It lists 20 paintings, three of which are illustrated. Rosenberg had lured Braque away from Daniel Henry Kahnweiler and his brother Léonce in 1922. Braque’s first solo exhibition at Paul Rosenberg’s famed gallery on 21, rue la Boëtie took place in 1924. The final page of this catalogue announces future exhibitions for Seurat, Picasso, Monet, Matisse and Laurencin.
Very good copy, minor dampstaining to the first blank leaf.
Illus. throughout. 64 unnumbered pages. 4to (202 x 202 mm.), orig. semi-stiff gray wrappers. [From colophon]: Eindhoven: S. Brouwn & van abbemuseum, 1981.
Brouwn’s artist’s book as exhibition catalogue for his show at the Van Abbemuseum. It consists of repeated black lines at identical intervals.
Near fine, printed in an edition of 1000 copies.
Many black & white illus. Two large folded sheets (299 x 212 mm. folded), unbound. Purmerend: Museum Waterland, .
An uncommon exhibition flyer for a display of bookworks at the Museum Waterland. Co-curated by Carrión and Agius, both included their own works, along with those of François Bouillon, Axel Heibel, Diderick van Kleef, Federico Sanguinetti, Ben Sleeuwenhoek, Ad Gerritsen, J. H. Kocman, Tom Ockerse, Gèza Perneczky, and Pawel Petasz. Several examples of each artist’s work are pictured. All of the works displayed were drawn from Agius and Carrión’s personal collections. This catalogue’s text, written by Alex A. M. de Vries, is in parallel Dutch...
Ten black & white illus.; text printed in red. 12 pp. Folio (311 x 230 mm.), unbound folded sheets, as issued. [Alkmaar & Amsterdam: 1978].
An uncommon exhibition catalogue of a show curated by Carrión, held at the Stedelijk Museum Alkmaar in October 1978. From the curator’s essay: “This exhibition tries to show the contact points, the relationships, between artists’ bookworks and Mail Art. Both forms are contemporary (they belong more or less to the last two decades) and influence and enrich each other.”
Carrión’s essay (in parallel Dutch and English texts) is interspersed with images showing mail art by Regina Silveira, Donald Burgy, Henryk...
10 black & white plates. 29,  pp. Small 4to (192 x 143 mm.), orig. printed wrappers (a little sunned at head). Paris: 1945.
The rare catalogue for the artist’s first retrospective exhibition, which took place one year after his death. Winner of the 1890 Prix de Rome, Devambez (1867-1944) studied under Benjamin Constant and was known for his “drawings and paintings [that] have a caustic vivacity and wit, and reconcile a restrained format with the depiction of bustling crowds, as in The Demonstration, Gulliver Received by the Lilliputians, and A Première at the Théâtre Montmartre.” From 1929 to 1937, he was head of the studio at...
Four black & white illus. 5 pp. & ads. Small 4to (145 x 114 mm.), red printed wrappers, staple-bound. [London: 1926].
A scarce illustrated exhibition catalogue with 14 sculptures by Jacob Epstein (1880-1959), the American-British sculptor and important figure in modern sculpture. The works displayed include a bust of his wife and Samuel Alexander. Four are illustrated on plates bound in. This exhibition was held in the Leicester Galleries, a leading dealership under the direction of Cecil and Wilfred Phillips and Ernest Brown, who joined in 1903, a year after the firm’s establishment. Nice copy. WorldCat records only two copies in North America.
Four black & white illus. 7 pp. & ads. Small 4to (144 x 115 mm.), cream printed wrappers, staple-bound. [London: 1933].
An uncommon illustrated exhibition catalogue listing 29 of Epstein’s works in bronze and marble. The show, which took place at the Leicester Galleries, featured busts of Joseph Conrad and Edith Dunn Beatty. Four of the works are reproduced on bound-in plates.
Good copy, staple rusted and as a result, the central bifolium has become loose. Pencil annotations on the upper cover. Only three copies in North America according to WorldCat.
Woodcut head-piece on first page. 12 pp. Small 8vo (196 x 127 mm.), modern marbled wrappers, stitched. N.p.: n.d. [ca. 1794-95].
First edition of this scarce pamphlet on the cultivation of the arts in Revolutionary France, stressing the importance and utility of the fine arts for the French state. It also alludes to (and criticizes) David’s role in the downfall of the Commune des Arts. At the end are the printed signatures of Etienne Eynard (president) and Tardieu (secretary), members of the newly formed Société Républicaine des Arts.
From page 4 (in trans.): “But it is necessary that our buildings, our squares, our porticos, our gates, our arsenals, our public passages, etc., demonstrate to Europe the character, the power and the enlightenment of a great nation.”
3 p.l., 155 pp. 8vo (171 x 102 mm.), cont. mottled calf (joints a little rubbed and cracked at head & tail, but strong), spine gilt, red morocco lettering-piece on spine. The Hague: J. Neaulme, 1747.
First edition of this groundbreaking work on the arts in France, composed by the “father of modern art criticism” (Oxford Art online, by A. McClellan). La Font (1688-1771) was employed at Versailles as Gentilhomme de la Reine to Marie Leczinska, and befriended the painter F. Lemoyne. He anonymously wrote several other well-regarded books on the arts.
The present work, in addition to his Sentimens (1754), another Salon review, “fuelled an explosion in Salon criticism, much of it anonymous, in the second half of the 18th century and marked a turning-point not just in the history of art criticism but in the relationship between art and politics as well.”–Oxford Art online.
16 pp. 8vo (199 x 126 mm.), modern green wrappers. Paris: Charon, 1793.
First and only edition of this scarce polemical pamphlet published by the great art dealer to critique the direction of the Louvre. Lebrun (1748-1813), a leading connoisseur of Dutch and Flemish art, and husband of the court painter Vigée Lebrun, played an outsize role in the Louvre’s creation. He played an essential role in the compilation of desiderata lists for the French confiscations of art in conquered territories throughout Europe. Once the artworks arrived in Paris, Lebrun was charged with their cataloguing and integration. Beginning in 1793, he launched a series...
A portfolio of ten finely lithographed plates loosely housed (as issued) in stiff boards and a slip-case (slightly worn). [From inside of lower cover]: Torino: Marco Noire Editore, 1986.
A rare and striking LeWitt suite of prints, signed by the artist and consisting of ten vividly rendered folding lithographs reproducing his famous wall drawings. This publication was finely printed in a numbered edition of 400 copies, many of which have been broken up and sold individually.
The slip-case is a bit worn, but the binding is in fine condition. WorldCat locates only two institutional copies in North America. This portfolio should not...
Many full-page woodcut illus. Nine columns per page; 20 characters per column. 21; 32 folding leaves. Two vols. incl. addendum. 8vo, orig. wrappers, remains of block-printed title labels on upper covers. Osaka: Bun’eido, [19th century? or earlier?].
This book presents several mysteries. The title-page states “Seppu shoshi Bun’eido shi” [“Osaka publisher Bun’eido published this book”]. In spite of this, the book has all the qualities of a Chinese publication: the text paper and wrappers are clearly Chinese. There is no colophon. It would seem that this book was printed in China for the Japanese market.
The history of the literati scholar in China dates back to the Tang and Song dynasties (A.D. 618-907 and 960-1279, respectively), when the court implemented meritocratic civil exams for the selection of bureaucratic officials. The tests assessed the candidates’ knowledge and ability in a wide range of subjects, including Confucian thought, law, agriculture, and the arts, especially calligraphy, painting, and music. An entire class of intellectual and artistically trained scholars was thus created, many of whom built studios filled with beautiful calligraphy and painting tools, furniture, musical instruments, implements for preparing and consuming tea and wine, and antiques.
1 p.l., ii, 152 pp. 12mo (153 x 100 mm.), cont. pink paste-paper boards (spine sunned), green morocco lettering-piece on spine. Paris: L’Imprimerie des Sciences et Arts, [?1801].
The second printing of this exhibition livret, describing 945 works (the first printing recorded only 944 works). This copy was bound for Auguste Gaspard Louis Desnoyers (1779-1857), premier Graveur du Roi. The present catalogue combines the contents of two great exhibitions, the first of French and Flemish pictures, the other consisting of Italian paintings looted from Lombardy and Bologna. Both were held in the grande Galerie of the Musée central des Arts (now the Louvre)...
1 p.l., ii, 224 pp. 12mo (162 x 104 mm.), cont. calf-backed paste-paper boards (head of spine worn), red morocco label on spine. [Paris: L’Imprimerie des Sciences et Arts, 1804/5].
A rare and often misdated issue of this exhibition guide. Marquet de Vasselot shows that this issue incorporates the Supplement of 1804 (no. 123), making it impossible for this to have been printed in 1801, as some cataloguers have concluded. The present catalogue describes 1243 works in total, which were shown during two momentous exhibitions at the Louvre in 1799 and in 1801.
Very good copy; a few gatherings lightly browned.
140 pp. 12mo (150 x 95 mm.), cont. gray wrappers, label in manuscript on spine, stitched as issued. Paris: L. P. Dubray, 1811.
First and only edition of the uncommon catalogue of the two-part exhibition of paintings, drawings, and sculpture held in the Musée Napoléon (the name of the Louvre from 1804 to 1815). The first portion lists 681 drawings, paintings, and sculptures. It included the work of artists such as Albani, del Sarto, Botticelli, Canaletto, the Carracci, da Vinci, Mantegna, Michelangelo, Murillo, Veronese, Raphael, Tintoretto, Vasari, Dürer, van Dyck, A. van Ostade, Joshua Reynolds, Rubens, Bouchardon, Le Brun, Claude Lorrain, Poussin, Watteau, etc....
154,  p. 12mo (155 x 100 mm.), cont. blue wrappers, title in manuscript on spine. Paris: Madame Hérissant Le Doux, 1817.
The scarce first edition of this exhibition catalogue of drawings, paintings, sculptures, and 59 enamel portraits by Jean Petitot. It describes approximately 523 objects, including drawings and paintings from the Italian, French, and Northern schools. No. 500 is expanded into 59 sub-entries to adequately detail the work of Petitot (with a short biography), considered the greatest enamelist of the 17th century. These 59 enamel miniatures depict Peter the Great, Louis XIV, the Duchess de La Vallière, cardinal Richelieu, Queen Christina of Sweden...
2 p.l., 127 pp. 12mo (153 x 100 mm.), cont. pink paste-paper boards, green morocco lettering-piece on spine. Paris: L’Imprimerie des Sciences et Arts, n.d. [but ca. 1802].
The catalogue for a controversial exhibition of antiquities confiscated from Italy. According to the bibliographical research of Jean Joseph Marquet de Vasselot (see below), and Etienne Michon in his “Bibliographie des Catalogues du Musée des Antiques du Louvre” (1914-15), the present livret is a later printing of a catalogue first issued in 1800 at the time of the exhibition’s opening. The present book, like all five preceding printings, is strangely numbered starting with no...
184 pp. 12mo (155 x 95 mm.), cont. pink wrappers, label in manuscript on spine, stitched as issued. Paris: L. P. Dubray, 1811.
(—). Supplément à la Notice des Antiques du Musée Napoléon, contenant l’indication des Monuments exposés dans la Salle des Fleuves. 1 p.l., v, 24 pp. 12mo (150 x 95 mm.), cont. pink wrappers, title in manuscript on spine, stitched as issued. Paris: L. P. Dubray, 1811.
1 p.l., ii, 152 pp. Small 8vo (160 x 100 mm.), cont. calf-backed paste-paper boards (tail of spine worn), spine gilt, green morocco lettering-piece on spine. [Paris]: L’Imprimerie des Sciences et Arts, [?1801].
The uncommon second printing of this exhibition livret, with 945 works described. The present catalogue has combined the contents of two great exhibitions, the first of French and Flemish pictures, the other consisting of Italian paintings looted from Lombardy and Bologna. Both were held in the grande Galerie of the Musée central des Arts (now the Louvre). As explained in the Avertissement, the artworks from the exhibitions were combined into...
239 pp. Small 8vo (155 x 98 mm.), later sheep-backed marbled boards (spine rubbed). Paris: Mme Hérissant Le Doux, 1816.
(—). [Drop-title]: Notice des Tableaux de diverses Ecoles exposés dans le Grand Salon du Musée Royal et dans la Salle d’Entrée. 11 pp. Small 8vo. [Paris: Mme Hérissant Le Doux, 1817].