N.P., (France): n.p, 1877. A rarer type of scrapbook art album in which the cut and saved chromolithographed images and die-cuts are assembled into “tableaux” formed by inked lines and forms drawn by their creator. Each of the 110 pages ( approximately 28.5 x 20 cm) is a deliberate decorative composition with lines in coloured ink creating a geometric or architectural setting showing off the main chromolithographed subject and defining the “tableau” further with supplementary chromolithographs and die-cuts ( or “découpis”) carefully and artfully positioned. The range of themes is varied, with romance, nature, flowers, music, exotic costume, and simply form, itself, all being subjects. There is one fine and striking Indian chief filling up a page and surrounded…
N.P., (France): n.p, 1877. A rarer type of scrapbook art album in which the cut and saved chromolithographed images and die-cuts are assembled into “tableaux” formed by inked lines and forms drawn by their creator. Each of the 110 pages ( approximately 28.5 x 20 cm) is a deliberate decorative composition with lines in coloured ink creating a geometric or architectural setting showing off the main chromolithographed subject and defining the “tableau” further with supplementary chromolithographs and die-cuts ( or “découpis”) carefully and artfully positioned. The range of themes is varied, with romance, nature, flowers, music, exotic costume, and simply form, itself, all being subjects. There is one fine and striking Indian chief filling up a page and surrounded by borders of tiny flowers, some bearing the message “ Je vous adore”. Many of the die-cuts are gilt highlighted. This is art populaire dreamt up from the mass culture offerings of printers, advertisers, and merchants that flooded the commercial world of the second half of the 19th century. Lovingly made for children. Unique. The album binding bears the label of “Aymès Père & Fils, Marseilles for relieurs & brochures. Art Populaire. Not just a scrapbook. Oblong 4to (20 x 28.5cm); 3 ff. blank + 110 ff. decorated with cut chromolithographs and die cuts mounted on stubs, illustrated on rectos only.
Original dark leather oblong album with gilt title “Album” on upper cover and “Album Pour Enfants” gilt stamped into one spine compartment; two corners very gently bumped; marbled endpapers with inner gilt dentelles, some loosening of endpaper at gutters, but joints firm; decorated album pages are sometimes slightly browned at edges, with very occasional glue spots and, rarely, a bit of abrasion on a die-cut. The album ends with an collaged arrangement at the end, with AVE spelled out in die-cuts and 1877 written out in gilt. Very good and very well preserved.
(Prague): Artia, (1964). A French language version of this very scarce little pop-up by the man who is called the genius of the pop-up genre, Vojtech Kubasta. It is number 2 in a series of three such small works for children and features five pop-up illustrations with text recounting the adventures of the two little butterflies. Kubasta was a Czech architect and artist who combined his skills to produce an amazing range of engineered books in addition to practicing a career as an advertising artist. He was the subject of an exhibition and catalogue of Ellen G. K. Rubin’s collection at the Grolier Club in 2014. Quite scarce, we find no copy of this title in OCLC, nor in…
(Prague): Artia, (1964). A French language version of this very scarce little pop-up by the man who is called the genius of the pop-up genre, Vojtech Kubasta. It is number 2 in a series of three such small works for children and features five pop-up illustrations with text recounting the adventures of the two little butterflies. Kubasta was a Czech architect and artist who combined his skills to produce an amazing range of engineered books in addition to practicing a career as an advertising artist. He was the subject of an exhibition and catalogue of Ellen G. K. Rubin’s collection at the Grolier Club in 2014. Quite scarce, we find no copy of this title in OCLC, nor in Princeton or Toronto. A Kubasta Pop-up Threaded printed paper folder for pop-ups, 11 x 11 cm; five pop-up scenes on folded sheets with text. we have not removed the protective plastic covering ( not adhered) over the somewhat rubbed paper folder covers.
Original paper folder cover, somewhat rubbed, protected by a non-adhering later plastic cover; all threads present; light edgewear and rubbing, particularly along the outer spine; some pop-up figures are a bit worn at the folds, but none are broken; on the final page, one figure’s colour has offset slightly to its folded backdrop. Well preserved.
( Paris): Flammarion, (1944, 1944, 1946, 1946). A set of all four seasons in this extraordinary series of decorative card bands or frises created for the Collection Père Castor by the French artist and illustrator, Pierre Belvès. The frises are lengths of soft card foldlng into quarters and printed on both sides. One side contains the title, the instruction text, and two separate full panel illustrations. These latter illustrations fold to create what looks like a square pamphlet. When opened, the panels open to their reverse joining the interior panels to presentsan illustrated length of seasonal scenes boldly rendered in cream and colour outlines against a dark background. These are to be coloured in ( or perhaps left uncoloured…
( Paris): Flammarion, (1944, 1944, 1946, 1946). A set of all four seasons in this extraordinary series of decorative card bands or frises created for the Collection Père Castor by the French artist and illustrator, Pierre Belvès. The frises are lengths of soft card foldlng into quarters and printed on both sides. One side contains the title, the instruction text, and two separate full panel illustrations. These latter illustrations fold to create what looks like a square pamphlet. When opened, the panels open to their reverse joining the interior panels to presentsan illustrated length of seasonal scenes boldly rendered in cream and colour outlines against a dark background. These are to be coloured in ( or perhaps left uncoloured for the sheer beauty of the designs) and used as decoration in a child’s study or classroom. Belvès Decorative bands illustrating the Four seasons. Four folding decorative bands in soft card each measuring 23.5 x 83 cm; printed in dark coloured backgrounds (green, black and brown) with images lithographed in cream and one background colour; The full length centre panel for “L’HIVER” printed in a lighter background with images in cream and a dark colour. Text on a back panel with a central image and instructions in French and English.
Decorative bands or Friezes in very good to fine condition; the band for “L’HIVER” is separating at the centre fold for about 2 inches, but still holding well.
N.P: n.p, n.d. ca. 1944. So far we have found no evidence that this strategic game was ever published. It’s concept is slightly complex, which may account for it never coming to fruition. Fortunately, some of the drawings and initial pencilled instructions have been saved, witnessing the brilliant imagination of Helen Haywood. Haywood, born in 1907, was a prolific illustrator (publishers included Thomas Nelson, Hutchinson & Co.) with a special gift for rendering plants and animals. Also, she executed fore-edge paintings and binding art work for Bayntun Riviere Bindery in Bath. In fact, she was the granddaughter of binder Robert Riviere. (For photographs of her work on bindings see Stephen J. Gertz’s article, “The Binding Paintings of Helen R.…
N.P: n.p, n.d. ca. 1944. So far we have found no evidence that this strategic game was ever published. It’s concept is slightly complex, which may account for it never coming to fruition. Fortunately, some of the drawings and initial pencilled instructions have been saved, witnessing the brilliant imagination of Helen Haywood. Haywood, born in 1907, was a prolific illustrator (publishers included Thomas Nelson, Hutchinson & Co.) with a special gift for rendering plants and animals. Also, she executed fore-edge paintings and binding art work for Bayntun Riviere Bindery in Bath. In fact, she was the granddaughter of binder Robert Riviere. (For photographs of her work on bindings see Stephen J. Gertz’s article, “The Binding Paintings of Helen R. Haywood” in his blog, BOOKTRYST, Oct. 3, 2012). The list of her illustrated books is long and includes the “Peter Tiggywig” series, “Animal Playtime” and “Animal Worktime”. She was keenly sensitive to all aspects of animal life and, in fact, the Royal Academy of Sciences cited her for her skin colour choices in her 1964 book, “The Days of the Dinosaurs” (see “Helen Haywood”, Wikipedia). In the proposal for this game, Haywood notes that “All you need is a box of paints - or coloured crayons + a pair of nail scissors.” She then describes a strip of folded paper labelled with 4 letters of which only “A” is already coloured. “B,C,and D are separate sections of shapes waiting to be painted. The child/reader was to look for the number on the shapes to be coloured and find the colour on the key. Once the painting process was finished, the child was to refold the paper strip and cut along the dark line on picture A. “Now pull the pictures out and the puzzle pictures are solved! ” If we correctly interpret the 2 groups of colour strips provided in Haywood’s sketches, the three uncoloured pictures are an abstraction and the coloured one presents the character or characters in colour. Once the instructions are followed and the four piece panel is folded, the cutting begins along the black lines and 4 separate and realistic colour co-ordinated figures emerge to be used in making up any story. It would be quite a magic moment for any child to finish cutting and end up with understandable figures that were a blur at the beginning of the process. Two of the finished colour strips made by Haywood bear some pencilled text at the bottom margin, including one set with French translation. Perhaps a French version had been planned. The closest we have come to finding any published work similar to this is THE HELEN HAYWOOD COLOUR BOOK with stories by Isobel St Vincent ( 1944). We have not been able to examine this title ( COTSEN 37349), but there is no suggestion that it is a game. A unique and challenging item. From the mind of a fore-edge painter. Four cardboard strips, 10 x 25.3 cm, each with 4 panels of original colour designs ;“text” in pencil beneath each panel; 3 cardboard strips 10 x 25.3 cm, and one measuring is 9x25.3 cm; with four panels each of hand-coloured designs cut out and pasted onto coloured background; one sheet of tracing paper with penciled text explaining how the game works; five sheets of tracing paper with penciled drawings; preliminary for title page in pencil showing “Designed by Helen Haywood” and, beneath, two indecipheral words ( names of collaborators, publishers?) in pencil.
Oxford: University Press, (1945). First edition. An illustrated alphabet and nursery rhymes from the exuberant illustrator Winifred Marks. Marks’ illustrations leap out of the page in both vibrant colour and in black and white. Her work is in the avant-garde and she was admired by Herbert Read. Her brilliant series for children, LIVELY DRAWING, encourages the approach to art and drawing exemplified here. For her text of traditional nursery rhymes, Marks has chosen wording mostly from Halliwell-Phillipps’ 1853 BOOK OF NURSERY RHYMES. “ Only where custom has already altered the original wording, so that the latter would be unfamiliar to the modern child, have alterations been made.” This first edition is quite scarce; so far we have located only…
Oxford: University Press, (1945). First edition. An illustrated alphabet and nursery rhymes from the exuberant illustrator Winifred Marks. Marks’ illustrations leap out of the page in both vibrant colour and in black and white. Her work is in the avant-garde and she was admired by Herbert Read. Her brilliant series for children, LIVELY DRAWING, encourages the approach to art and drawing exemplified here. For her text of traditional nursery rhymes, Marks has chosen wording mostly from Halliwell-Phillipps’ 1853 BOOK OF NURSERY RHYMES. “ Only where custom has already altered the original wording, so that the latter would be unfamiliar to the modern child, have alterations been made.” This first edition is quite scarce; so far we have located only four copies in OCLC. This title listed in Cotsen in the 1846 printing only. WITH AN ILLUSTRATED ALPHABET 4to (24.5 X 18.5) 64 pp. profusely illustrated in both colour and in black and white.
Original colour printed paper over boards with cloth spine, light wear to spine ends, some foxing to areas of printed covers; edges bumped, a few scraps on the lower cover; carefully erased on the lower cover paste-down is a child owner’s name and inscription; very light and infrequent foxing in text, mostly to margin edges. A good well preserved copy.
London: Groombridge & Sons, 1856. First edition. Not just a stroll along the beach, but a serious lesson printed up with a multitude of questions following each of six sections. “The Mighty Deep”; “Ships and Boats”; “Sailors and Fishermen”; “Fish and Fishing”; “Crustaceous and Testaceous Animals, Etc.”; Sea Weeds, Sea Birds, Etc.”. Each section features a chapter heading, a wood-engraving relevant to the chapter’s topic. Adams wrote natural history books for children, sometimes under the pseudonym, Nemo. He is noted for his statement that enslavement of black people was immoral in his editorial introduction to GOD’S IMAGE IN EBONY by F. Chesson and W. N. Armistead. Uncommon. 16mo (13.5 x 9 cm); (iv) + 236 pp. with illustrations from wood-engravings.
Original embossed cloth a bit faded with extremities very gently worn and small old ink(?) spots scattered on covers; original endpapers with printed owner’s name pasted down on front paste down; embossed bookseller’s mark on flyleaf; title in gilt on spine; text in excellent condition. A very good and well preserved copy.
Tokyo: Tokyosha, 1934. A complete and original single issue of this beautiful colourprinted illustrated Japanese children’s journal which ran from 1922 to 1944. “KODOMO NO KUNI stood out in what is often called the “golden age” of Japanese children’s magazines because of its high artistic standards and the long duration of its publication.” ( McGowan, Tar M. ‘WELCOME TO THE “LAND OF CHILDREN” (KOMODO NO KUNI). It sprang from a renewed interest during the Taishō period in the creation of open spaces for the expression of children’s creativity, coupled with the work of Japanese artists returning from Europe filled with ideas gleaned from the modern art movements taking there at the time. For more on KODOMO NO KUNI, read…
Tokyo: Tokyosha, 1934. A complete and original single issue of this beautiful colourprinted illustrated Japanese children’s journal which ran from 1922 to 1944. “KODOMO NO KUNI stood out in what is often called the “golden age” of Japanese children’s magazines because of its high artistic standards and the long duration of its publication.” ( McGowan, Tar M. ‘WELCOME TO THE “LAND OF CHILDREN” (KOMODO NO KUNI). It sprang from a renewed interest during the Taishō period in the creation of open spaces for the expression of children’s creativity, coupled with the work of Japanese artists returning from Europe filled with ideas gleaned from the modern art movements taking there at the time. For more on KODOMO NO KUNI, read the excellent article on the journal and its artistic contributors at WELCOME TO THE “LAND OF CHILDREN” ( KOMODO NO KUNI); by Dr. Tara M. McGowan for the Cotsen Children’s Library at https://blogs.princeton.edu/cotsen/2019/02/kodomo-no-kuni. Uncommon. Japanese Children Go Modern. 8vo (26 x 18.8 cm); 30 unnumbered pp, including inner covers, all illustrated, many full page + 16 numbered pp. on lighter pp. with text, some illustration, printed in purple/brown.
Limerick: George M. Goggin’s, n.d. ( ca. 1832-37). An extremely scarce illustrated children’s reader, alphabet, natural and civic history in “Stereotype Edition” from printer George M Goggin’s wholesale and retail School-Book and Paper Warehouse, 15 George Street, Limerick. Goggin was the brother of Stephen Goggin (d. 1832), one of Ireland’s busiest printers of song books and ballads ( some “rebellious”). During the period this book was published in Limerick, the Whigs in England, under William IV, created a national system of elementary education in Ireland (1931-32) in response to outcries for reform in Ireland demanded by many, such as Daniel O’Connell. A full length portrait of William IV appears as frontispiece here. ”Prior to 1831 the provision of education…
Limerick: George M. Goggin’s, n.d. ( ca. 1832-37). An extremely scarce illustrated children’s reader, alphabet, natural and civic history in “Stereotype Edition” from printer George M Goggin’s wholesale and retail School-Book and Paper Warehouse, 15 George Street, Limerick. Goggin was the brother of Stephen Goggin (d. 1832), one of Ireland’s busiest printers of song books and ballads ( some “rebellious”). During the period this book was published in Limerick, the Whigs in England, under William IV, created a national system of elementary education in Ireland (1931-32) in response to outcries for reform in Ireland demanded by many, such as Daniel O’Connell. A full length portrait of William IV appears as frontispiece here. ”Prior to 1831 the provision of education in Ireland at the elementary level was extremely patchy...To bring some uniformity to this situation, and to attempt a radical piece of religious engineering, the Whig government decided that a national system of elementary education would be set up for Ireland, one in which the guiding principal was to be non-denominational” ( Bartlett, Thomas, IRELAND/ A History. pp. 272-273) A book such as this one was surely intended as much for the native Irish population of children struggling for advancement by means of speaking and writing in English. Having English as a skill a bit later during the Famine would be of value to those trying to emigrate. The book contains a full page lettered alphabet, plus a 4 page illustrated alphabet from “A” for apple to “Z” for zebra, and, additionally, spelling and reading lessons composed of words of one syllable, the reading lessons mostly taken from scripture; Following this are separate lists and readings in words of 1-3 syllables, etc. Next comes Short Lessons in Natural History with woodcuts of a lion, a bear,a horse, a dog, a cameleon, a reindeer, an eagle, and an ostrich. In the ten page “A Short History of Ireland/ From the earliest period to the Union” we find woodcuts of a few kings and mention of trade in a fine linen “which has been brought to astonishing perfection”. The natives are described as brave and hospitable, but often in conflicts that fail to promote “the blessing of eternal peace.” The history ends with some rather profound understatements about the years of strife up to the Union in 1800. In conclusion are general rules for spelling and directions for reading with propriety. Thus far we have found only copies of a seemingly similar title, published by Egan in Dublin, at Middlebury College and the Universiy of Iowa Libraries. “avoid hem’s and ha’s between your words” 12mo ( 14.5 x 8.5 cm); engraved frontispiece as paste-down + title page with alphabet on verso; (iv) pp.from woodcut illustrations; 9-71 pp., the last page pasted down as rear endpaper; with fourteen illustrations from woodcuts in the text.
In original faded and spotted orange paper-covered soft card boards, paper over spine slightly split; internally, some pages are wrinkled and some show the consequent printing separations at letters and images commonly found in early stereotyping. old pen lines in margins at pp. 69-70, not affecting text; some blending of paper colour onto the last page which is pasted down with one letter affected, but visible. In all a very well preserved copy of a fragile item.
Paris: L’Accueil de Paris, n.d. (mid-century). One of a series of beautifully illustrated leaflets on the beauties of Paris edited by L’Accueil de Paris under the authority of the Conseil Municipal de Paris. This one focuses upon the basins and ponds or lakes of Paris gardens, the text’s author noting that these lakes (or oceans) are created by the hand of man for humanity’s pleasure and the games of children. Two reproductions of watercolours by Catalan-born artist, Emilio Grau Sala, illustrate children gathered around their miniature sailboats in the basin of the Luxembourg gardens and romantic figures posed around the lake at the Parc de Buttes-Chaumont. We have not located a copy of this leaflet online, but we did…
Paris: L’Accueil de Paris, n.d. (mid-century). One of a series of beautifully illustrated leaflets on the beauties of Paris edited by L’Accueil de Paris under the authority of the Conseil Municipal de Paris. This one focuses upon the basins and ponds or lakes of Paris gardens, the text’s author noting that these lakes (or oceans) are created by the hand of man for humanity’s pleasure and the games of children. Two reproductions of watercolours by Catalan-born artist, Emilio Grau Sala, illustrate children gathered around their miniature sailboats in the basin of the Luxembourg gardens and romantic figures posed around the lake at the Parc de Buttes-Chaumont. We have not located a copy of this leaflet online, but we did find another similar item illustrated by Grau-Sala and offered by L’Accueil de Paris on the topic of “Fenêtres de Paris.” at the Musée de Carnavet. It would seem that the one loose coloured illustration was offered for the buyer to frame or use for decoration. Consequently, most of the leaflets composed in this way are very scarce. Oblong leaflet, 6 ff, with 2 ff text and including illustrated covers, one of which is coloured and measures 22.2 x 27 cm and one smaller illustration in black and white on lowr cover; + 1 coloured plate, loose, as issued, measuring 22.7 x 27 cm.
(Courbevoie): Musée de Courbevoie, (1964-65). An exuberant colour lithograph poster from the atelier of Henri Deprest. The design which is signed (printed) “M.King”, features a toy stage setting surrounded by toys and children in costume. The Musée de Courbevoie in Saint Denis at the parc de Bécon was originally housed in what was the Swedish and Norwegian pavilion at the Paris Exposition, 1878. Called the Musée Roybet Fould, the pavilion ( which was of course portable) still exists at the back of a more recent building. Several expositions dedicated to toys and games were held here, this one of the earliest Ref. 16921 A joyful and colourful expression 56 x 42 cm; lithographed in reds, blues, yellows and black.
Excellent condition with all colours bright; one horizontal fold in centre. A very good copy.
London, New York, and Bombay: Longmans, Green, & Co, 1898. New edition with over 200 illustrations and 16 colour plates. Bates was the author of RECITATIONS FOR CHILDREN, SALTAIRE KINDERGARTEN GAMES, GUESSING GAMES and more. Bates stresses the importance of understanding Froebel’s principles and the way they are connected throughout all the Gifts and Occupation. Her text includes: Kindergarten Gifts; Occupations; Ordinary School Subjects; Singing and Drill. This guide is well represented in libraries, but not very common in trade. Ref. 17079 8vo (18.5 x 12cm);(x) + 388pp. with numerous illustrations from photographs and sketches plus 16 plates in colour.
Original cloth with decorative design bordering title on upper cover, edges gently nicked, some spotting to cloth; new endpapers; sprinkled faint foxing. A well preserved copy.
Paris: Hachette, 1833. First edition of a book on education proclaimed (in 1834) by the French Academy to be the best book of the year. Cochin was a highly respected Parisian lawyer, philanthropist, and, also, a mayor of the city’s 12th arrondissement where he witnessed the impoverishment and neglect of children, as well as the difficulties of mothers. In response, Cochin established classrooms- salles d’asile - where he, himself, instructed according to the appropriate age of the children. In a way he aimed at supplementing the education that heavily burdened mothers could barely give their children. “C’est pour suppléer, dit-il, aux soins, aux impressions, aux enseignements que chaque enfant devrait recevoir de la présence, de l’exemple et des paroles…
Paris: Hachette, 1833. First edition of a book on education proclaimed (in 1834) by the French Academy to be the best book of the year. Cochin was a highly respected Parisian lawyer, philanthropist, and, also, a mayor of the city’s 12th arrondissement where he witnessed the impoverishment and neglect of children, as well as the difficulties of mothers. In response, Cochin established classrooms- salles d’asile - where he, himself, instructed according to the appropriate age of the children. In a way he aimed at supplementing the education that heavily burdened mothers could barely give their children. “C’est pour suppléer, dit-il, aux soins, aux impressions, aux enseignements que chaque enfant devrait recevoir de la présence, de l’exemple et des paroles de sa mère, qu’il a paru nécessaire d’ouvrir des salles d’hospitalité et d’éducation en faveur du premier àge.” An early acolyte of his programme was Mme. Millet, wife of the painter Frédéric Millet, who went to England to study their young age school and returned to open the first salle d’asile on the rue Martyr in Paris. The project grew from there as outlined in Cochin’s manual, bringing the salle d’asile into the same school building as the salle-d’asile within the initial project funded by Cochin himself. There are two major parts to the Manuel: the first introduces the concept and. importance of the salles d’asile; the second part is aimed at outlining the objectives of the teachers. This is followed by an index of topics discussed; pages of music to be sung for instruction ( there are both an addition song and alphabet song); and, finally, by plates showing separate activities and a large folding plate showing the plan for the Maison created by Cochin in the 12th arrondissement between 1828. and 1829. A wonderful work of educational reform. Scarce in commerce. In OCLC we locate 15 copies, many of these the 1834 edition. Saving the very young from indigence and poverty. 8vo (20.5 x 13 cm); (ii) +285 + (1) + 19 + (1) pp. + 9 plates of which one is fold-out.
Bound in mid-19th century quarter leather, gilt ruled spine with gilt title lettering; minor wear at spine ends; outer upper spine separating slightly (1”), inner hinge secure; marbled paper over board covers, edgewear, board exposed by about 1 x 1 inches on lower cover, toning to endpapers. Old library stamp of Chateau de la Roche Guyon on title page. A very good copy. Ref. 17040
(Paris);: Librairie Hachette, 1969 (cover title). A Babar title no gardener would want to be without. Not found in OCLC, WC, Library Hub, etc. A Babar Rarity? Oblong stapled pamphlet (6 x 12 cm; 1+ (ii)pp. with coloured illustrations throughout.
A very small darkening and bump at the rear, but a very good copy.
London: ca. 1910. No. 105 of the Dean’s Rag Books, Patented. Cope’s DEAN’S RAG BOOKS & RAG DOLLS noting publication from 1910-1913. Cope also attributes the art work to artists Evelyn Gladys Hall ( called the “backbone of Dean’s creative department)and Sybil Scott Paley (for the cover), but the Cotsen Collection (74283 Pams) attributes the cover illustration to Catrina Patricchio whose name is on the cover. Patricchio was the artist for other books by Dean on flower painting; perhaps here she was the person who created the concept of the book. The classic Arts & Crafts cover design shows a bonneted and full-skirted young girl walking between two tall standard blossoming fruit trees in matching planters with an arched opening…
London: ca. 1910. No. 105 of the Dean’s Rag Books, Patented. Cope’s DEAN’S RAG BOOKS & RAG DOLLS noting publication from 1910-1913. Cope also attributes the art work to artists Evelyn Gladys Hall ( called the “backbone of Dean’s creative department)and Sybil Scott Paley (for the cover), but the Cotsen Collection (74283 Pams) attributes the cover illustration to Catrina Patricchio whose name is on the cover. Patricchio was the artist for other books by Dean on flower painting; perhaps here she was the person who created the concept of the book. The classic Arts & Crafts cover design shows a bonneted and full-skirted young girl walking between two tall standard blossoming fruit trees in matching planters with an arched opening in a tall hedge as background. Within the text are illustrations of colourful fruit, flowers,insects, birds, gardening tools and furniture. Seven colours were used in this production created entirely on cloth. The book is accompanied by a flyer listing the company’s rag books and doll and plush animals. Each page illustrated in vibrant colours, printed on cloth, with identification. A Dean Rag Book Rarity. Wear Ever-Tear Never. Sewn cloth overstitched with “pinked” edges, 322 x 174mm; 6 ff of illustrations with captions; 7 colours; upper and lower covers included in count. With small printed advertising flyer, 11 x 18.5 cm, folded into three panels and printed on all sides.
Le Puys: 1869. Original French schoolchildren’s work cahiers take many forms, from the copying of lessons to original artwork. Here we have a beautiful example of the young Henriette de Morangiés’ work prepared at the school of La Maison de Nôtre Dame (Le Puys), classe the Religieuses de Nôtre Dame. She has written a history of famous flowers - the violet, the marguerite, lily of the valley, pansy, tulip, rose, fritillary, carnation, etc., identifying each with famous persons and periods in the history of France. The history has been produced in the manner of an illuminated manuscript, with calligraphic text, hand-painted borders - a different ornamentation for each section - hand-painted initial letters and other forms of text ornamentation. Each…
Le Puys: 1869. Original French schoolchildren’s work cahiers take many forms, from the copying of lessons to original artwork. Here we have a beautiful example of the young Henriette de Morangiés’ work prepared at the school of La Maison de Nôtre Dame (Le Puys), classe the Religieuses de Nôtre Dame. She has written a history of famous flowers - the violet, the marguerite, lily of the valley, pansy, tulip, rose, fritillary, carnation, etc., identifying each with famous persons and periods in the history of France. The history has been produced in the manner of an illuminated manuscript, with calligraphic text, hand-painted borders - a different ornamentation for each section - hand-painted initial letters and other forms of text ornamentation. Each section opens with a distinct rendering of the flower to be discussed and a hand hand-painted ornamented initial. As was traditional with much of this student work done for presentation, the calligraphed text begins with a dedication to Henriette’s parents, this one a charming poem expressing her wish to present to her parents her work as a symbol of the honey created by the joy and activity of the bee among flowers. A work of devotion and considerable amateur talent. Ref. 17031 “Et voici donc mon miel, mon tout petit ouvrage” By Hand. Album, 29 x 21.2 cm; 30 ff all hand calligraphed and hand painted, with tissue guards over most portions of text and illustration.
Original brown leather rather worn gilt ruled panels, gilt panelled spine; largely effaced gilt stamped name and device on upper cover; with cream moire end papers, separating at bottom 2 inches of inner upper hinge and some loosening at inner lower hinge - binding still firm; internally fresh and bright with very infrequent spot of foxing and some offsetting from designs onto opposite page - most notable, the faded impression of the initial letter opposite the second page of dedication, without loss of text. Pink or rose coloured tissue guards at the beginning of each section; white tissue guards or overleaves within sections protecting calligraphed text. Near fine internally.
(Paris?): Volumetrix, ca. 1942-49. A charming decoupage album from the immediate post-war years with Froebel “echoes”. It consists of four large removable colour plates from which a child can cut out figures of the farmer and various animals of the poultry yard. Designed in a strict geometrical fashion, these figures require very careful and thoughtful cutting along lines of squares and circles and then, folding into Cube-like shapes. Attractive and challenging. So far we have located a copy only in Princeton’s Cotsen Special Collection. Cut and Fold Staple bound album; original printed light card covers with central illustration + 4 light card sheets for cutting out with numbered shapes in colours.
Original stapled printed heavy stock with upper cover illustration and instructions on lower cover, a bit of slight edgewear; internally, 4 unnumberd light card sheets with coloured figures to be cut out. Complete and in very good condition. Ref. 17013
École Maurice-Cannes/ Cours Moyen 2ème A, (ca. 1936). . The young female students of the École Maurice-Alice in Cannes inform us in their hand-written introduction that they have chosen the profession of gardener as their theme ( even though it is a male job they say!) for exposition because, in their privileged school setting surrounded by a park, it is the Gardener who occupies their world in so many ways each day. “Toute l’annee il travaille près de nous: ses gestes, ses occupations, ses outils nous sont familiers, et nous avons appris à aimer son métier, ce métier qui nous fait mieux comprendre la nature qui nous entourne...” With their stated “Equipe de dessin” (Anne-Marie Frémont and Josette Prévost)…
École Maurice-Cannes/ Cours Moyen 2ème A, (ca. 1936). . The young female students of the École Maurice-Alice in Cannes inform us in their hand-written introduction that they have chosen the profession of gardener as their theme ( even though it is a male job they say!) for exposition because, in their privileged school setting surrounded by a park, it is the Gardener who occupies their world in so many ways each day. “Toute l’annee il travaille près de nous: ses gestes, ses occupations, ses outils nous sont familiers, et nous avons appris à aimer son métier, ce métier qui nous fait mieux comprendre la nature qui nous entourne...” With their stated “Equipe de dessin” (Anne-Marie Frémont and Josette Prévost) andEquipe de rédaction (12 young women), this class has produced hand-written text and full page illustrations that describe the beautiful grounds and trees and plants surrounding their school, as well as the work of the Gardener within. The students have taken interest in his work in autumn, in the task of trimming the palm trees, in tending to the olives trees during the mistral, and, of course, in attending to spring at the garden. Of interest here, although the school property was acquired by the city of Cannes in the early 30s, the villa, designed by Charles Baron, and the grounds once belonged to the noted botanist and dendrologist Alfonse Lavallée who was no doubt a great contributor to the beauty of the grounds. A particularly intelligent and colourful school class exhibition piece in very good condition. Hand-lettered text in pen, with initial letters in blue watercolour; 12 full page original colour illustrations in gouache or watercolour signed with the initials of students Anne Marie Frémont and Josette Prévost. Handmade booklet, 18 x 22.1 cm; cover illustration in watercolour or gouache, with full page crayon or chalk illustration on verso; 9 pp. text, these pages usually attached to verso of a full page illustration, some continuation of hand-written text onto overslip only of following illustration.Ten full page hand-coloured illustrations, including verso of title page, and in addition to title page drawing. Beautifully preserved.
Paris: Chez A. Marc, n.d, (ca. 1821-25?). First edition of this most charming children's botanical work, this copy with coloured plates, by the prolific French governess for the children of the duc d'Orléans. These jeux champêtres are designed to instruct by the experience of nature, a key element in Mme. de Genlis’s approach to education. The text takes the form of a dialogue between teacher and students. Here the children collect and play games with flowers and plants, learning their science along the way. They learn to make a herbier as well. Engravings of certain flowers and some of the toys or amusements one can make with them illustrate the text. Also included at the end of the work…
Paris: Chez A. Marc, n.d, (ca. 1821-25?). First edition of this most charming children's botanical work, this copy with coloured plates, by the prolific French governess for the children of the duc d'Orléans. These jeux champêtres are designed to instruct by the experience of nature, a key element in Mme. de Genlis’s approach to education. The text takes the form of a dialogue between teacher and students. Here the children collect and play games with flowers and plants, learning their science along the way. They learn to make a herbier as well. Engravings of certain flowers and some of the toys or amusements one can make with them illustrate the text. Also included at the end of the work is a fairy tale, "l"Ile des Monstres", in which natural forms appear enlarged in life as though seen under a microscope. Oxford and Cambridge lists their copies as editions originales with the dates of 1821 and 1822. The Gumuchian date, also identified as edition originale is “vers 1825”. Copies were printed plain, coloured, and on velum, coloured. There are a few other copies in online library catalogues, but the book is rare in commerce. Ref. 16894 A Coloured Copy Gumuchian 2704 & 2705 12mo (16 x 9.5 cm); (ii) + xii + 236 pp. with 8 hand-coloured engravings including title page vignette.
Original full leather, marbled boards bordered in gilt tooling; with gilt decorated spine and gilt lettered red leather lettering piece; marbled endpapers ;a.e.g.; very tiny chip at head of spine and some wear at spine edge; a bit of light wear here and there; and some light browning at margins of initial and rear pages.; the plates are fresh and bright. A very good copy.
Limoges: Marc Barbou, 1884. A volume in the series LEÇONS DE CHOSES POUR LE PETITS ENFANTS. All about the making of beer, with numerous (crude) illustrations from wood-engravings. Full of scientific and technical information for young but intelligent children. Quite scarce. Ref. 17087 Beer-Making and Hops Gathering for Children. 18mo (13 x 8.5 cm); 64 pp. with illustrations reproduced from wood engravings.
Original binding in cartonnage with illustrations of children at work baking, picking grapes, etc. The rear cover framed in rustic border bears the motto: “ META LABORIS HONOR”. Nice condition but for creasing of thin spine and loss of spine paper in tiny portion of heel which has been lightly reinforced.
Milano: Emme Edizioni, (1974). First edition. A beautiful and rather mysterious colouring book printed on glossy paper showing a vintage red and blue car with silver wheels travelling through town and country scenes ( somewhat surreal ones) with three young passengers. The artist, Paola Pallottino, has been a prolific writer and illustrator of children’s fiction and of popular scientific texts. She was also a lyricist for contemporary music and theatre. As a scholar, Pallottino helped develop a new approach to the history of illustration, producing the HISTORY OF ITALIAN ILLUSTRATION - STORIA DELL ILLUSTRAZIONE ITALIANO- in 1988. Pallottino taught the history of contemporary illustration at DAMS in Bologna and at the Academy of Fine Arts in Bologna. Not found…
Milano: Emme Edizioni, (1974). First edition. A beautiful and rather mysterious colouring book printed on glossy paper showing a vintage red and blue car with silver wheels travelling through town and country scenes ( somewhat surreal ones) with three young passengers. The artist, Paola Pallottino, has been a prolific writer and illustrator of children’s fiction and of popular scientific texts. She was also a lyricist for contemporary music and theatre. As a scholar, Pallottino helped develop a new approach to the history of illustration, producing the HISTORY OF ITALIAN ILLUSTRATION - STORIA DELL ILLUSTRAZIONE ITALIANO- in 1988. Pallottino taught the history of contemporary illustration at DAMS in Bologna and at the Academy of Fine Arts in Bologna. Not found in Library Hub, Princeton or Toronto; on OCLC we have so far located 2 copies in Italy; 2 in the US; 1 in Australia and 1 in Switzerland. Ref. 17056 In a red, blue, and silver car. Square 8vo (21 x 21 cm); glued and sewn; half title + 10 ff. with no text apart from lettering on buildings, but with illustrations in black and white and in red, blue and silver.