Modern Artists Rare Books and First Editions

search results

click here to use our advanced search

Next 10 >>

Browse > Art, Architecture and Design > Modern Artists

Found 51 books(s). Showing results 1 thru 10.

results per page
sort by

GOYA’S MASTERPIECE TAUROMAQUIA:
EXTRAORDINARY RARE 1855 SECOND EDITION, FINELY PRINTED FROM THE ORIGINAL PLATES, WITH ORIGINAL PAPER WRAPPERS BOUND IN

GOYA Y LUCIENTES, Francisco José de. Coleccion de las diferentes suertes y actitudes [Tauromaquia]. Madrid, 1855.

Rare second edition of Goya’s magisterial survey of the “fiesta nacional”—33 dramatic etched and aquatinted plates of bullfighting scenes in early impressions from the original plates etched by Goya. This copy bound with the seven additional plates published for the first time in the 1876 third edition. $140,000.

add to my wishlist Add To My Shopping Bag

DALÍ’S 16 FOLIO ETCHINGS FOR THE FIRST WORK OF MASOCHISM, SACHER-MASOCH'S VENUS IN FURS, EACH PRINT ONE OF 145 PRINTED ON JAPON, EACH BOLDLY SIGNED IN PENCIL BY DALÍ

(DALÍ, Salvador). [SACHER-MASOCH, Leopold von]. Venus in Furs [Venus aux Fourrures]. Paris, 1969.

Fine and complete suite of 16 original drypoint etchings, with roulette and watercolor highlights, designed by Dalí to illustrate the pioneering work of masochism, Leopold von Sacher-Masoch's Venus in Furs. Each print number 14 of only 145 on Japon (from a total edition of 604), and each is boldly signed in pencil by the artist. $32,000.

add to my wishlist Add To My Shopping Bag

“TIME SPENT WITH CATS IS NEVER WASTED”

NAM, Jacques Lehmann and COLETTE, (Sidonie-Gabrielle). Chats. Paris, circa 1935-38.

Limited first edition of this portfolio of five wonderful large color lithographic portraits of cats, each signed and numbered by Jacques Nam, accompanied by amusing commentaries by Colette, this copy one of only 25 issued on Imperial Japon paper with multiple original watercolors of cats in the margins of each leaf of text, initialed by Nam, as well as a lovely original charcoal and watercolor drawing on the half title inscribed and signed by Nam, "A Lucien Jonas, en témoignage de ma ___ amitie, Jacques Nam" [For Lucien Jonas, a token of my friendship]. This copy additionally with a splendid large (17-1/2 by 12-1/2 inches) original gouache watercolor painting inscribed and signed by the artist laid in, not called for on the limitation leaf. $28,000.

add to my wishlist Add To My Shopping Bag

LASARD'S MONTMARTRE, WITH 12 LOVELY LARGE FOLIO LITHOGRAPHS OF PARISIAN SOCIETY IN THE 1920S, EACH SIGNED BY THE ARTIST

LASARD, Lou-Lou Albert. Montmartre. Potsdam, 1925.

Rare first edition of this lovely portfolio of large original lithographs of Montmartre society in the 1920s, each one matted and signed in pencil by the artist, Lou-Lou Albert Lasard. $12,500.

add to my wishlist Add To My Shopping Bag

NISHIKAWA, Joken. Commerce with China and with Barbarian Countries. No place, 1708. Five volumes bound as one.

First edition of this early description of Japanese knowledge of the West, illustrated with some of the earliest Japanese images of Indians, the Dutch, Western ships, a map of the known world including the Americas (with California labeled as both an island and part of the continent), and a detailed map of China. $9800.

add to my wishlist Add To My Shopping Bag

RARE LIMITED EDITION OF MODES ET MANIÈRES D’AUJOURD’HUI FOR 1919, ONE OF ONLY 12 COPIES ON JAPON, FEATURING THE ART DECO ARTISTRY OF ANDRE MARTY WITH 12 POCHOIR COLOR PLATES AND ORIGINAL WATERCOLOR SIGNED BY HIM, WITH 12 SHORT WORKS BY TRISTAN BERNARD

MARTY, André AND BERNARD, Tristan. Modes et Manieres d"Aujourd"hui. Paris, 1921.

Limited first edition of Modes et Manières d’Aujourd’hui, Volume VIII for the year 1919, number 4 of only 12 copies issued on Japon (of 300 copies), featuring 12 loose pochoir color plates, accompanying suite of 12 uncolored plates, and original matted watercolor signed by French artist Andre Edouard Marty, the leading Art Deco artist whose work, like that of Barbier and others, “made fashion the art of the day instead of art being the fashion” (Metropolitan Museum of Art), with 12 leaves of accompanying text in French by popular playwright and novelist Tristan Bernard, rarely found complete in the original portfolio. $9500.

add to my wishlist Add To My Shopping Bag

SIGNED BY PICASSO

(PICASSO, Pablo) ARISTOPHANES. Lysistrata. New York, 1934.

Signed limited edition, number 411 of 1500 copies signed by Picasso, with six original etchings—"among his most important in the classical style"— and 34 in-text lithographs. $9500.

add to my wishlist Add To My Shopping Bag

WITH A LOVELY ORIGINAL ETCHING SIGNED BY MATISSE

MATISSE, Henri. Cinquante Dessins. Paris, 1920.

First edition, number 865 of only 1000 copies with a lovely original etching by Matisse of a woman's face, entitled "Mlle. M.M," signed by him. $8500.

add to my wishlist Add To My Shopping Bag

WONDERFUL PORTFOLIO OF HAND-PAINTED PHOTOGRAPHS BY VICTOR VAZQUEZ, EACH SIGNED BY HIM

VAZQUEZ, Victor. Body and the Bird. Philadelphia, 2002.

Signed limited first edition of this dramatic portfolio of nine hand-painted gelatin silver prints, number 6 of only 25 copies produced, each print signed, titled and dated on the verso by Vazquez. $8500.

add to my wishlist Add To My Shopping Bag

“THE SAME RELIGIOUS FORCE AS THE BIBLE ITSELF”

CHAGALL, Marc. Illustrations for the Bible. New York, 1956.

Scarce first American edition, published the same year as the first Paris edition, of Chagall’s extraordinary illustrations for the Hebrew Bible, with 105 etchings reproduced in heliogravure, as well as 12 black-and-white and 16 color lithographs prepared by Chagall especially for the present work and printed by Mourlot Frères, in very scarce original dust jacket. $6500.

add to my wishlist Add To My Shopping Bag

Next 10 >>

Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
Colophon Printed note at the end of a text containing information about the printing of the book.
Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
Edition Print-run from a single setting of type without substantial change. Depending on demand, any number of printings can be made from a setting of type For example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies.
Endpapers Extra leaves—plain, colored or decorated—with which a bookbinder covers the insides of the book’s boards, therefore not part of the actual text block. The part of the leaf pasted to the inside of the front board is the front “pastedown,” while the other part of the leaf that forms the first page of the book is the “front free endpaper”; the same applies to the rear pastedown and rear free endpaper.
Engraving Illustration produced by carving lines into a metal plate. This is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. The image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text.
Errata List of mistakes and corrections noted after printing, often compiled on a separate sheet or slip and inserted into the text block.
Flyleaves Additional blank leaves following or preceding the endpapers.
Folio Book composed of sheets that are folded once and printed on both sides, making two leaves and four pages. Typically above 14 inches tall. Oblong folios are produced the same way but bound at the short edge, producing a book typically more than 14 inches deep.
Fore-Edge Edge of the book furthest from the spine. Occasionally the text of a book will be put into a specialized book press and painted, often with a scene from the book or a landscape, so that the painting is invisible when the book is closed but visible when somebody bends the text and fans the pages—known as a fore-edge painting.
Foxing Light brown spots that naturally appear on some papers due to oxidation as they age.
Frontispiece An illustration facing the title page of a book.
Gathering Single sheet of paper that has been printed and folded to form the pages required by the book’s format. A single gathering of a quarto book, then, would be a sheet folded twice, containing four leaves, eight pages of text.. Gatherings are identified by a letter, symbol or number in the lower margin of the first page (the “signature”) to make it easy for the printer to stack them in proper order for sewing.
Gilt Edges The three exposed edges of a book have been smoothed and gilded.
Half Title Leaf preceding the title page that bears the book’s title, originally used to identify the unbound text block. The book’s binder would often remove and discard the half title at the time of binding. Remaining half-titles are therefore of interest to collectors.
Illuminated Decorated by hand. Typically early printed books and especially manuscripts.
Imprint Satement of place, publisher and date of publication on a book’s title page.
Incunable From the cradle of printing, i.e., any book printed before 1501.
Issue A group of books issued by the publisher as a discrete unit. At times, issue refers to timing, such as the “first issue” being offered to the public at an earlier date than the “second issue.” At other times, it refers to specially planned different batches, such as the “trade issue” (widely available) in opposition to a “signed limited issue” (limited to a small amount of copies differing somehow from the trade issue and not widely available).
Japanese Vellum Expensive handmade paper often used in deluxe editions.
Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
Marginalia Handwritten notes made in the margins by a previous owner.
Mispaginated Printer’s error in pagination, typically skipping, transposing or repeating page numbers. Not uncommon in older, larger books, it is not considered a defect, so long as all integral leaves are present.
Modern Recently accomplished, when used to describe a book’s binding that is not the original casing. Some books bound recently are bound using techniques, tools and styles of the period of the book’s original issue; when done well this is called a period-style binding, a term that implies “modern” as well.
Morocco Binding material made from goatskin—versatile, durable, with a distinctive pebbled texture and visible grain. Readily stretched (“straight-grain”), crushed (flattened smooth), tooled in gilt or blind, inlaid with leathers of different colors. So-called because much of the raw material originally came from the tanneries of North Africa (other types of goatskin bindings denoting regions of origin include levant, turkey, niger).
Offset The unintended transfer of ink from one printed page to an adjacent page.
Period-Style binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. The term implies that the binding is modern, or recent, unless otherwise specified.
Plate Full-page illustration printed separately from but bound with the text.
Point Variation in text, illustration, design or format that allows a bibliographer to distinguish between different editions and different printings of the same edition, or between different states or issues of the same printing.
Presentation Copy Book given as a gift by its author, illustrator or publisher. Sometimes refers to a volume given by a notable donor.
Provenance History of a particular copy of a book.
Raised Bands Horizontal protruding strips found on the spine of a book.
Reback To supply a worn binding with a new spine, usually made of the same material as the rest of the binding and decorated to match. When feasible the binder may preserve the original spine and affix it to the new material, described as “rebacked with the original spine laid down.”
Recase To reattach a text block to its binding when it has become loose from its covers.
Recto The front side of a leaf. The back side is known as the “verso.”
Trade Edition Printing or printings of a book made available for purchase by the general public on publication day (as opposed to a limited edition, often available only by subscription).
Uncut When the edges of the text block (most apparent at the fore and lower edges) have not been trimmed to a uniform size, and are therefore characterized by a ragged or deckle edge. A book may be uncut but opened—i.e., with a paper-knife—but all unopened books (see below) are by nature uncut as well.
Unopened When the folds of the sheets of paper making up the text block have not been trimmed away or opened with a paper-knife. While this makes it impossible to read all of the pages, it also indicates a probability that the text block has not been altered since leaving the printer.
Vellum Binding material made from specially treated calfskin—durable, with a distinctive ivory color and smooth appearance. Can be tooled in gilt or blind. So-called Japan vellum (or Japon) is a type of thick paper that has been polished smooth and given a glossy finish to resemble vellum.
Verso The back or reverse side of a leaf or page. (See “recto.”)
Woodcut Illustration or textual decoration made by cutting away from the surface of a block of wood until the reverse of the image is left in relief; this is then inked and pressed to the paper to leave the image. The woodblock, or multiple blocks, can be fit into the page along with the type, allowing text and illustrations to be printed in the same print run and share the same page (not possible with engravings, which require thicker, damp paper and much more force; nor with lithographs, which require a different printing process altogether). Woodcuts preceded moveable type and are the earliest known printing technology.
Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
Wormhole Tiny pinhole-sized trails left by bookworms as they eat through a text block. Much more common in older books printed on handmade papers with a high rag content than in books printed on manufactured papers made from wood pulp with a higher acidic content.
Wrappers Paper coverings—plain, marbled or printed—attached by stitches, staples or glue to a text block to identify it and afford it some protection (though much more fragile than a binding in plain, cloth or leather-covered boards). More typical of slim and/or inexpensive volumes such as pamphlets. “Self wrappers” are leaves, blank or printed, that are integral to the text block, conjugate with other leaves and from the same stock. “Original wrappers,” those attached at the time of issue, are scarce and extremely desirable to most collectors.

Search and refine these results Click here