From Hinck & Wall Rare Books, ABA:
A Small Selection including a variety of books prepared for display at the
Chelsea Rare Book Fair, 3-4 November 2023
Photos of any items happily sent on request.
+44 (0) 7814 266 372
“VIVE L’ALPHABET” With All the Plates.
1 (ABC ) MARQUET, Marcelle; Suza DESNOYER. IT ETAIT UN FOIS UN ALPHABET. (PARIS published by the author) (ca. 1945).
An exceptional and complete copy of a creative production between the writer Marcelle Marquet, the illustrator Suza Desnoyer, and the artistic lithographer and Russian artist Boris Nikolaevitch Grosser. Possibly an advance copy for the illustrator pre-dating the ca1951 edition. The concept of the book was developed in response to Marcelle Marquet’s daughter’s request for a better understanding of the alphabet and Suza Desnoyer joined in to further the imaginative story with her illustrations. Marquet and Desnoyer were friends and associates in the artistic and literary world of 1930s Paris. In this fantastic story, the vowels, a community of personified letters, and the consonants, similarly segregated, come together at a grand banquet and gala. The ultimate result is the signing of a treaty creating one people, “celui des LETTRES”. Supplementing this colourful event are plates of heavier card, some coloured, featuring the anthropomorphic letters to be cut out and used in games ( games are suggested for adults, as well). Printed on the inside of the lower cover are pieces of a vehicle to be cut out and assembled for containing the cut-out letters. All brilliantly conceived. Cotsen 6918 with a date of 1952 has a different collation with fewer plates. Copies with all the plates and instruction leaves are quite uncommon. Oblong 8vo ( 19.3 x 23.4 cm); (2), 24 pp. printed in colours; 3 ff of fine paper in three different colours; 8 plates in heavy stock (of which 4 are printed entirely in colours). Laid in is a much older description from noted children’s book dealer Michele Noret who notes that the book comes from the illustrator’s personal collection.
Fine. Original spiral bound boards and pages of varying weight; lower cover is meant to be cut out to form a container for the letter cut outs. 
Children’s History of Peter the Great and Alexander I in a charming papier dominoté slipcase.
A very scarce illustrated Dutch almanach for 1818 in an attractive block-printed paper covered étui. Published by the enterprising H. Moolenyzer, this almanach is an excellent example of the trend for almanachs morphing into vehicles for all sorts of entertainment, illustration and minor literary works – in fact, they became valuable for advancing the sales of the publisher/booksellers. Here the story, most likely intended for children, unsurprisingly plays up very positive sides of Peter the Great and Alexander 1 – Peter the Great learned much shipbuilding in Amsterdam and Alexander 1 eventually helped put an end to Napoleon. We have so far located only two copies in Dutch libraries. Small 8v (10 x 8.2 cm); portrait frontispiece of Alexander I; engraved title; (xii) +(ii) + 112 pp. text + 4 engraved plates in addition to frontispiece.
Original speckled paste paper covers, slightest rubbing, but nearly fine; in attractive colour block printed paper covered étui, again, faint rubbing at open side, but nearly fine. 
3 (ARCHITECTURE – Pre-Fabrication) E. GILLET, (constructeur) CONSTRUCTIONS DÉMONTABLES SYSTÈME E. GILLET Paris: ca.1912.
Three large posters on light paper showing in pictures and elevations a range of pre-fabricated bungalows, pavilons, offices, dormitories, chalets, even a cafe/restaurant for use in France and abroad. Of particular interest for colonial application. Prices included. Three lithographed sheets each printed on one side only with illustrations from drawings or plans, each 50 x 64 centimeters, folded into eights.
Three sheets printed on light paper, one of which is basically a tissue paper; two of the sheets show some very minor holes on a few folds; one sheet has a larger hole along the fold affecting the outer edge of an illustration. Well preserved nonetheless. 
A Beautifully Printed Parisian Real Estate Prospectus for the Art Deco Period
4 (Architecture-Paris) MM. MOLINIE ET NICOD, architects. LES BELLES DEMEURES (cover title) IMMEUBLES 125, 127, 129 AVENUE MALAKOFF/PARIS. Paris: n.d.. ca 1933.
An unmistakable work of Art Deco period printing featuring the equally unmistakable Art Deco architectural plans of architects MOLINIE et NICOD for a set of elegant and luxurious designs for residential apartments in the 16th arrondissement of Paris. Molinie et Nicod were Both students at the Ecole des beaux -arts and, when working together, created villas, hotels and apartments for distinguished clientele, especially at Cannes. See the CENTRE D’ARCHIVES CONTEMPORAINE/ Archiwebture for listings of their work. For these “Belles Demeures”,‘ a group of three apartment complexes, this prospectus presents several designs ranging in complexities and amenities from a three bedroom rez-de chausée apartment with garden and private entrance to 6th floor apartments with terrasses, 4 bedrooms and gardens on the 7th floor, and, additionally, the apartments on the floors overlooking the garden and the Avenue Malakoff. The pamphlet, itself, which is printed by Gorce et Cie of Paris shows a striking geometric design on the upper cover in keeping with the dramatic red- line accented page presention of the floor plans and suggestions for art deco decoration. Rare. We have not found any copies on OCLC under either “Les Belles Demeures” or Immeubles 125,127. 129 Avenue Malakoff, Paris. Large corded-tied volume, 36 x 27 cm; 29 + (v) with floor plans and with 2 tipped in illustrations from photographs.
A very good copy marked only by some (ink?) darkening along the very outermost edges of the covers and a section of sun-fading along the lower cover. A pristine interior. 
5 (ARCHITECTURE, EXHIBITIONS – CRYSTAL PALACE) (ANONYMOUS) CRYSTAL PALACE/ PRINTED IN THE MACHINERY DEPARTMENT. (LONDON?) ca. 1854.
A decorative, fringed printed fabric featuring an image of the Crystal Palace, once a centerpiece by Joseph Paxton for the 1851 Exhibition at Hyde Park. Here the palace is shown as it was in its new setting. “The Crystal Palace was a cast-iron and plate-glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851 which showcased the products of many countries throughout the world. The exhibition lasted six months after which the building was relocated to a property named Penge Place that had been excised from Penge Common atop Sydenham Hill. The building constructed in 1854 on Sydenham Hill, while incorporating most of the constructional parts of the Hyde Park building, was so completely different in form as to be properly considered a different structure – a “Beaux-arts” form in glass and metal. It was modified and enlarged so much that it extended beyond the boundary of Penge Place, which was also the boundary between Surrey and Kent. By the 1890s the Palace’s popularity and state of repair had deteriorated.” ( -OCLC) The illustration presented in this piece shows the spread of the Palace (its length, breath and height are printed in the illustration. Terraced gardens, fountains and visitors are shown in the foreground. A lovely bright copy. A silk scarf version of 62 x 65 cm is held at Penn State University. Oblong cloth of fine cotton or silk, printed in black with decorative cord fringe at outer edge. 60 x 41 cm.
Fresh and bright, with just a few folds evident. 
A Rare Photographic Album of Mortuary Beadwork Wreaths
6 (ARTIFICIAL FLOWERS – Beadwork & Funerary Art) P. DUCOURÉ Fils. MANUFACTURE DE COURONNES MORTUAIRES from cover). (Lyon) P. Ducouré Fils n.d. (ca. 1930).
A rare photographic display album from P. Ducouré Fils, Lyon, of their mortuary wreaths – bourrelets – and similar creations made from bead work and mounted on galvanized wire threads. We have established a date of 1930 from one photo identified as that of a prize winner at the 1930 Exposition de Marseille, but, as is often the case with such albums, material is added to them over time. Over 140 original photographs show the firm’s offerings of funerary wreaths, crosses, etc. made from elaborate bead work on wire. Printed captions describe the style ( a few “Art Moderne” styles noted), flowers, and measurements of the items. The use of such wreaths, crosses, and sheaves for grave sites and funerals became popular in the 19th century because their materials lasted. Hence they were referred to as “immortelles”. Their use died out by the mid 20th century in many countries. It is difficult to determine from the album if Ducouré made the beads as well as constructed the wreaths. An announcement over their first illustration states that the articles are guaranteed to be made from “perles neuves” and mounted on “fils de fer galvanizés”. See the excellent article on beadmaking that mentions these decorative and commemorative items, with a few pictures, in Opper, Marie-José and Howard Opper, FRENCH BEADMAKING : AN HISTORICAL PERSPECTIVE EMPHASIZING THE 19TH AND 20TH CENTURIES. in BEADS: Journal of the Society of Bead Researchers Vol 3 (1991) Art. 5. We have not located any copies in OCLC, World Cat, Google Books, Gallica, BL, BNfr. Rare documentation of an unusual art form. Oblong album (21 x 26 cm); on heavy stock with approximately 146 full page mounted original photographs, some showing more than one example; printed captions, pencil notes.
Contemporary cloth covered, metal edged album with proprietor’s name and details on upper cover brass screw post binding for individual heavy card stock bearing photos bound on stubs, quarter leather spine a bit of wear to extremities, mostly to spine; marbled paste-downs; occasional tissue guards; card edges show frequent use, but photographs are well preserved. 
“10,000 winters in the sound of all those wings”
7 (ARTISTS BOOKS – Nikki McClure) McCLURE, NIKKI. CONMIGO. Olympia, WA Blackberry Press 2001.
No. 49 of 95 copies. Printed April 2001 at Hypatia-in-the Woods by the Nikki McClure & Elspeth Pope. The images are photopolymers of papercuts made by McClure. This is an early work by McClure a Pacific Northwest artist known for her stunning cut paper art made with an X-Acto knife and just one piece of black paper which, as she says, “yet now…holds a story”. From the beginning, her work has centered around the sea, insects, the products of the earth and community life. Since 1996, her work has appeared in children’s books; additionally, she has produced a yearly calendar collected by admirers. Here her work commemorates the migrating Monarch butterflies from El Rosario Sanctuary west of Mexico City viewed on her visit in 2001. Delicate, stunning and very scarce. We have located one copy at the University of Washington and another at the artist’s alma mater, Evergreen State. Single signature album, 16 x 21 cm with 10 double leaves with fold at bottom edge, illustrated and printed in red text + one folded double leaf with full page illustration from reproductions of paper cuts.
Original paper wrappers with illustrations from papercuts on upper cover; single signature of tissue weight paper sewn into wrapper consisting of 10 double leaves with fold at bottom edge, many with illustrations, and one folded double leaved print of a large paper cut illustration; text printed in red. A few very gentle bumps to corners, but a fine copy. 
The Great Cemetery of Paris
8 (Cemeteries – Paris) HENRY, M.A. LE PÈRE -LACHAISE HISTORIQUE Historique, Monumental Et Biographique. Paris Chez L’Auteur ca. 1852.
First edition. As suggested by the subtitle, this scarce guide to Le Père LaChaise provides history, a description of monuments, and biography of those buried there. This copy has the plan which is not always present and it has been engraved( at an earlier date?) from a drawing by E. Grant by Charles Saunier. Surrounding this plan of the grounds, which includes plantings and some sketches of monuments, is detailed legend which itself is printed by Imprimerie Bonaventure et Ducessois. The book is fairly scarce, with 1 British Library holding ( suggested date 1853); A BNf copy with date of 1852. There are separate listings for the map alone at Bayerische Staatsbibliothek and another German library. An important mid-nineteenth century document of a memorial which would only grow in strength and importance. 12mo (17.5 x 12 cm); (iv) +116 + folding plan, 41 x 52 cm.
Original lightly embossed cloth covers with upper cover title in gilt;covers scuffed and nicked, especially at spine ends and edges; text shows moderate foxing; the plan is in very good condition but for some insignificant sprinkled foxing and a closed tear in margin where the plan attaches to the gutter. 
Eating in the Tree-tops in Montmartre
9 (Children’s Books – Paris) (ANONYMOUS) PROMENADES AMUSANTES d’Une Jeune Famille Dans les environs de Paris/ Avec des remarques historiques, et des anecdotes sur les lieux les plus Célèbres. Paris Chez LeCerf et Chez Banchard, n.d. (1819).
The young children of the family Senneval voyage around Paris beginning by crossing the Seine to the park Saint Cloud and from there to Lagny; Charonne; Saint-Denis; Charenton; Surène et Au Calvaire; Versailles; Arcueil et Bicetre; Saint-Germain; Montmartre; Sceaux, et Vincennes. At each spot they learn local or national history, but, also, they experience local pastimes and learn the ways of the people. This title is modestly famous for its illustration of the family eating dinner in the tree-tops of le Poirier sans pareil ( destroyed in 1814 says a text note) maintained by a local traiteur. This copy of the book is undated, as are some listed in OCLC. The date of 1819 is suggested for the Cotsen copy which does not specifically indicate colouring to the plates; the Morgan copy in the Corsair collection suggests 1819 with only 48 pp., but hand-colouring; Gallica, giving a different publisher, lists no date. Gumuchian 4641 is uncoloured. Quite scarce in commerce. 16mo, small format oblong, 12 x 18 cm.; 56 pp. + frontispiece, engraved decorative title and 12 plates hors texte, all coloured by hand.
Original printed paper over boards with an illustration on the upper cover; small separation along the upper spine edge not affecting solidity of binding; some spotting and rubbing on covers; internally very good, very slight bit of tight trimming above the title; with hand-coloured illustrations fresh and bright. 
10 (Children’s Books – Silhouettes, Typography) STOLK, Reyer. DIEREN PRENTENBOEK (Animal Picture Book) Silhouetten. Amsterdam G.W. Breughel (1945).
First and only edition of a typographic and graphic approach to children’s reading skills. with animal silhouettes by Stolk, a Dutch artist who also worked in Africa. The style and identity of many of the animals created here in silhouette reflect Stolk’s African influence. Opposite each full page of animal silhouette groupings is another full page of animal names produced in varying typographic styles and arranged in contours reflecting the grouping opposite. Lithographed largely in black, with occasional outlines or words in blue, gray, or green. Quite unique. Small 4to (26 x17 cm); 16 pp. lithographed with silhouettes and lettering.
In fine condition. Must note that the staples of the binding have been replaced by fine linen cord, creating a more elegant and stable book. 
11 (CHILDREN’S BOOKS) PALLOTTINO, Paola. WEEK-END. UN LIBRO DA GUARDARE E DA COLORARE ( half-title). Milano Emme Edizioni (1974).
First edition. A beautiful and rather mysterious colouring book printed on glossy paper and 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 a lyricist for contemporary music and theatre. Also 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 locate 2 in Italy and 5 elsewhere. 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.
The glossy paper boards are ever so slightly cocked, but all else is Fine. 
Interactive Children’s Book
12 Children’s Interactive Books) (ANONYMOUS) LA BASSE-COUR Album de decoupage. (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. 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 unnumbered light card sheets with coloured figures to be cut out. Complete and in very good condition. 
A Dean Rag Book Rarity. Wear Ever-Tear Never.
13 (CLOTH BOOK – DEAN’S RAG BOOKS) PATRICCHIO, Catrina ( cover author ? ) THE GARDEN. London Dean’s Rag Books 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. 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.
About fine. Small folded advertising flyer fine. 
A French Colour Shop
14 (COLOUR – FRANCE) SEIGNEURET, Jules. MAGASIN DE COULEURS, Teintures et Merceries/ Jules Seigneuret. Valenciennes ca. 1835.
Small broadside/invoice for “A La Boule Rouge” at Rue de Lille, No.27, vis-a-vis le Marché au Poissons à Valenciennes where Jules Seigneuret established his Magasin de Couleurs. The owner was himself a painter, and he lists not only colour pigments available but paper and instruments for working with colour. “ Jaune de Chrôme”, “Vermillon de tous numéros”, “Eponges et différens articles de peinture. Emphasized is the announcement “ Il Tient Aussi Les Couleurs Fins a L’Huile En Vessie et En Tablette. This advertisement is used as a bill of sale with a transaction recorded below the printed text and signed by Seigneuret. Single sheet of cream paper, 23 x 17 cm; printed text and penned notations and signature.
Slightly soiled at two corners, upper corners only gently attached to a modern paper background. Very good. 
Behind the scenes. At Mainbocher.
15 (FASHION INDUSTRY) GABY, Henriette. THE NOTEBOOK OF A SEAMSTRESS EMPLOYED BY THE PARISIAN HOUSE OF MAINBOCHER. (PARIS) n.p. 1939.
For Miss Gaby Henriette, this was to be her last year working for the fashion designer Mainbocher, the “first” American couturier, who left his Avenue George V premises in Paris at the onset of the war and moved to New York. Her partially filled notebook captures one of the great successes of the Mainbocher house – the custom of Wallis Warfield (Simpson), the Duchess of Windsor. Gaby’s plain and simple notebook records a session with the “Duchesse” in which she is re-fitted for a mauve taffeta – a sample of the fabric is pasted in – and her measurements recorded. One more session with the “Duchesse” is noted as cancelled, with the instructions passed to a Suzanne d’Herblay. Another note records a meeting with the secretary of the “Duchesse” for a repair. In a poll of Parisian dressmakers recorded by the New York Times in January, 1940, the Duchesses of Windsor and Kent, Mme. Antenor Patino (of Brazilian fame) and Countess Barbara Haugwitz Reventlow are listed among the ten “Best Dressed” women of the year. Except for the Duchess of Kent, each of these women have a fitting recorded in Henriette Gaby’s notebook. Among other notables was Mme. Vincent Astor. Gaby’s interest in her contacts is evidenced by enclosed clippings of the 1937 marriage of the Duke and Duchess of Windsor (wedding dress by Mainbocher) and two newspaper clippings of seamstresses in their atelier working on the wedding dress and “les nombreuses toilettes commandées” for the occasion. Tucked in, also, are three original photographs of a large party of women, surely seamstresses, possibly with Mainbocher, himself, in one. Another interest of the owner or subsequent owner of this notebook was cycling and sport, with 3 related clippings, a photo of cycliste and one“Brevet Cyclo-Touriste” card. Bound notebook, 22 x 16.5 cm; 19 ff. with pencil notes in black and occasionally red; 36 small fabric samples glued in. Accompanying the notebooks are 4 clippings from the Windsor wedding; two clippings of seamstresses; three photos of a party; three clippings related to cycling in France, 1 photo of Cyclises and a brevet card.
Original cloth-backed stiff card notebook, backing worn, and spotted, a few spots to covers; the interior is about a third filled with pencilled notes and there are a number of rusted staples holding random notes of orders and measurements with various identification marks. Additionally, there are small fabric samples pasted down. 
16 ( Illustrators, Russian) ROJANKOVSHY, FEODOR, illustrator. QUAND LA BISE FUT VENUE. Paris: La Grande Maison de Blanc, 1929.
Here is a wonderful example of the work of the great Russian children’s book illustrator from his early days working in Paris, before his association with the Père Castor albums and his fame as illustrator of DANIEL BOONE at the Domino Press. For La Grande Maison de Blanc, Place de l’Opera, Paris, Rojan ( as he came to be known) created this joyous and colourful advertising or promotion booklet. As the title suggests, the wind forecasts a change of season and the illustrations portray suitable leisure activities – horseback riding in the park under bare trees, traveling, attending horse-racing, watching and dressing for winter sports. Each of the six full page illustrations are brilliantly coloured with pochoir and highlight appropriate “trousseau” or material setting for each occasion.
Rojankovshy or “Rojan” was educated at the Moscow School of Painting, Sculpture and Architecture, but was interrupted to serve in the Imperial Russian Army during the first World War. Throughout most of his adventures, he continued his devotion to lively illustration, including war scenes from his experiences, school books in Ukraine and work for the Polish illustrator, Rudolf Wegner. In France he found work in publicity and, eventually in the highly popular Père Castor series which emphasized the bold colour with which he distinguished his work. Moving to the US, he worked for Little Golden Books and later won the Caldecott Medal for illustration for his “Frog Went A-Courtin” by John Langstaff. This early French work emphasizes his love of colour and swift movement. We have located it in three US libraries and 1 Australian library on OCLC. There is, of course, a copy in the BNfr.Paper covers, 18.8 x 15.5 cm; 8 ff. loose, as issued, printed in colours with full illustrations on 6 pages and a solid colour plate with text opposite each.
A fine copy but for some dull offsetting from some printed illustrations onto facing solid colour block pages; with colour printed upper covers, white lower covers; linen spine. 
“the Celtic Defender, the Enemy of Tyranny, and the Free Exponent of Ireland’s Rights”.
17 ( Ireland – Freedom of the Press and the Fenians) Darling, J(ohn O), (editor). The SCOURGE; OR, THE IRISH PUNCH WITHOUT SUGAR. The People’s Fearless Independent National Monthly Journal, Dublin at the Office, 52, Henry St. Prospect House… 1866.
A surprising survival of a Fenian call to freedom for which we find only a copy at the National Library of Ireland. It would seem to be an energetic prospectus issue, free of advertisements for the convenience of readers,and full of a great plea for liberty of the press in Ireland and release of Fenian prisoners in Pentonville. Original poetry is included; portions of a lecture on the Round Towers of Ireland are printed and “to be continued in the next number.” There is a lengthy biographical piece on James Stephens and a quiz whose answers would come in the next issue. The fiery editor, J. Darling is listed as the author of ‘Irish eloquence’; ‘Grattan and the Irish Volunteers’; ‘The National Genius of the Celtic race’, but we do not find library listings for these. A rare item of urgent fervour preceding the doomed Fenian Uprising of 67. The classic puppet figure from PUNCH appears on the masthead. Rare. We have found no indication that publication continued. Bifolium measuring 46 x 31 cm.; 4pp. of 4 lined columns with scattered wood-engraved illustrations.
In very good condition but for some wrinkling and a dusting along centre fold. 
An Early Floral Game with a Language of Flowers
18 (Language of Flowers) DELANGLARD, C(harles)-F(rançois) Paul. ORACLES DE FLORE. Paris: Chez Janet, n.d. ( 1816).
An early floral game and fortune-teller based on the symbolic meaning of flowers. The thirty-six flowers used in the game are each assigned a specific meaning. As such, it is one of the very few “language of flowers” books to have been published prior to Charlotte Latour. It was also the basis for numerous other 19th century romantic and prophetic floral games based on the “meaning” of individual flowers. It is illustrated with six colour plates of 6 hand-coloured flowers each and the title page has a hand-coloured vignette of a rose. To assist in the formation of a bouquet, one person offers another choices from two plates, which are in black and white, each providing 6 little lists of 6 flowers each. The games proceed from there. Rare; in OCLC we have located only 7 copies:2 in the Netherlands; 2 in the U.S. ( Morgan and Oak Spring); 1 in Belgium; 1 in U.K; and, of course, the Bnf. which describes the book as “ Jeu des oracles avec instruction en fin de volume./ Illustré de deux planches contenant des noms des fleurs et de six planches représentant 36 fleurs coloriées à la main. The work concludes with a calendar for 1817.Rare. Plesch pg. 194. 18mo (12 x 7.5 cm); (2) + 152 pp. with engraved title with hand-colored rose + 6 hand-coloured plates of flowers (each of these plates with six squares of flowers) and 2 engraved plates in black and white of “playing cards.”
Original pink paper over boards in very good condition; very infrequent light foxing, but colour plates are all fresh and bright. In matching pink paper covered étui showing just a bit more external wear. A very good copy. 
In a lovely little contemporary gilt-tooled morocco binding.
19 (Miniature – La Fontaine/Almanach) (La Fontaine, Jean de). PETIT ALMANAC POUR L’AN 1812 Avec Six Fables de Lafontaine francoises et allemandes. N.P. (Berlin or Paris?) Députation Royale des Calendriers
In a lovely period binding. With twelve small engravings related to verses printed from six fables of La Fontaine in German and French and with an almanach in both languages. An account of 4 eclipses from 1812 is included. There are two title pages and the German one bears a cachet. Not in GRAND-CARTERET; WELSH, A Bibliography of Miniature Books 5530-5531 lists issues of 1813 and 1814, but 1812 is not present. The front flyleaf bears the neat penned inscription of Amalie v. Breitenbuch. Quite scarce. 32mo ( 7 x 4 cm); 15 ff + 31 + (1) pp. + 12 full page engraved plates.
Contemporary morocco with gilt ruled line, flourishes and tiny floral impressions on upper and lower covers; flat, unmarked spine – apart from some very light wear, very good indeed; internally there is scattered light browning to text and some lower portions of illustrations, hardly affecting them where present; one plate of illustration is separated from gutter along a few centimeters of lower edge, but the illustration is not affected.
Well-preserved and a nice survival in a lovely binding of a very scarce almanac. 
For Paddington, “the first permanent post-war housing scheme to be completed.” In honour of the discoverer of Penicillin, Sir Alexander Fleming.
20 (Post-war housing) FLEMING, Sir Alexander Professor. “FLEMING COURT” Official Opening. N.P. (Metropolitan Borough of Paddington) October 2nd 1948.
Illustrated program and invitation to the event marking Paddington Council’s opening of its “ first post-war housing scheme “Fleming Court” St. Mary’s Square, W.2, named in honour of Sir Alexander Fleming, discovered of Penicillin (1928) and professor at Paddington’s St. Mary’s Hospital. Following an opening program with dignitaries at the Paddington Town Hall Council Chamber, Fleming and the Mayor of Paddington opened Fleming Court, designed by an architectural staff headed by A.R. Pratt and director of housing, R. A. Jensen. This was a five block scheme built over an acre with 48 flats “comprising thirty-one 4 -roomed dwellings averaging 823 sq. ft., eight of 3 rooms, etc. Detailed descriptions of the flats are provided. and the illustrated ground floor plan shows the layout of the apartments and the block around a central garden courtyard. In addition to the fold out plan, there is a picture of Sit Alexander Fleming and, also, a picture of the Fleming Court facade near completion. The enclosed invitation is addressed to Councillor and Mrs. E.D. Hunt. Stapled pamphlet 22 x 14 cm; 8 pp.with photo illustrations + fold-out plan.
With Contemporary Manuscript Additions of over 60 Ornamental Plants
21 (PRIVATE GARDEN CATALOGUE – England) NEAL, Adam. A CATALOGUE OF THE PLANTS IN THE GARDEN OF JOHN BLACKBURNE, ESQ. At Orford, Lancashire. Alphabetically Arranged According To The Linnaean System. By Adam Neal, Gardener. Warrington: printed by William Eyres. 1779.
First edition with added contemporary manuscript notes. Henrey 1162. “J. Blackburne” inscribed in ink in margin above title. John Blackburne erected the first hot house at Orford Hall, Warrington, in Northern England where he ripened pine-apples (Desmond, DICTIONARY OF BRITISH AND IRISH BOTANISTS AND HORTICULTURISTS p. 67) Adam Neal was his gardener and cataloguer. Of Blackburne, Peter Collinson wrote ( as quoted in Henry, BRITISH BOTANICAL AND HORTICULTURAL LITERATURE BEFORE 1800 p.274 ): “ This gentleman spares no expense in building a variety of stoves for all species of exotics; has by much the largest toda panno or sago palm in England, and has a very great collection of all kinds of plants.” Blackburne did send a plant to Collinson. The additional manuscript notes bound in to the catalogue list well over sixty additional ornamental plants in a contemporary hand. In OCLC we have located 8 printed book copies, most in the U.S.A. 8vo (21 x 13 cm.0; (iv) 72 pp. with 7 unnumbered pp of manuscript notes measuring approximately 17 x 9.5 cm listing “additions since the catalogue” in contemporary hand bound in at the end.
Bound in recent attractive light calf backed marble paper over boards; gilt title and date on spine; new endpapers; original 18th century text with inked inscription “J. Blackburne” in margin above title, some pencil notes below author’s name in scribbles not affecting text of title page;a very small burn hole through the word “in” on the title page does not negatively affect readability; there are a few relevant pen notes in margins of the text ( one partially smudged or corrected). Seven unnumbered pages of manuscript notes in contemporary hand and ink list additions to the catalogue. Well preserved. 
Art Populaire. Not just a scrapbook.
22 (SCRAPBOOK ART) (ANONYMOUS) ALBUM POUR ENFANTS N.P., (France) 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. 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. 
23 (TRADE CATALOGUE – Architectural Ornements) TIRRART ( Antoine -Xavier-CLAUDE). RECUEIL DE DESSINS, D’ORNEMENS, D’ARCHITECTURE LITHOGRAPHIÉS…. Publié par Tirrart, décorateur ornemaniste, successeur de M..Benoiste et Cie. et de Feu Sempe. Paris Tirrart (ca.1829).
The firm’s copy? “Contenant tout ce qui a rapport à la décoration intérieure et exterieure des bâtimens et qui se trouvent exécutés en relief en Carton-Pierre dans ses magasins à Paris.” Tirrart’s production of Empire style ornaments for interior and exterior decoration focused upon the use of Carton-Pierre. Carton-Pierre is often identified as papier maché, but it is stronger than that: According to Oxford Reference, it is: “Paper-pulp mixed with resin and glue, pressed into moulds and backed with sheets of glued paper. It was used for roofing, and is not the same as papier-mâché.” Many of the designs in this trade catalogue come from earlier work by Joseph Beunat whose catalogue bearing a similar title is well known ( ca. 1814). The latter catalogue was engraved, whereas this larger catalogue by Tirrart is lithographed by G. Engelmann. Tirrart worked for and became successor to MM Benoiste et compagnie who handled sales for Beunat in Paris. His focus on carton-pierre seems to have breathed life into the business which was fading a bit after the passing tide of French Empire style. Many of the approximately 800 designs presented here are ruled in light red ink or pencil, indicating, possibly, items of out stock. This is likely the company’s catalogue, with laid-in flyers of Instruction for installing the ornaments; an advertising flyer (noting that the company had been admitted to the 1827 exposition du Louvre) detailing the type of work undertaken by the company and the solidity of the material used; a fourteen page tariff of items and prices dated 1829 is bound in; there is also a hand-written letter to a customer; and a pamphlet on Hydrofuge de feu M. Demaisonrouge. A document of an invigorated trade made possible by a new printing approach, new construction material, and a vigorous new proprietor. This edition of the Tirrart appears to be the most complete. OCLC lists Toronto, Columbia and Getty only with all plates. Other copies contain between 90 to 102 plates. Rare. Folio; 108 plates printed on rectos only including title page, with approximately 800 lithographed designs, most with measurements; bound in at rear is an advertising broadside for the company, a 14 page tariff listing numbers and prices ; Laid in is a manuscript letter in pen discussing colours; a flyer providing instruction for installation of the ornements and another flyer advertising a humidity preventative.
Bound in contemporary quarter leather with gilt decorated spine and “Recueil D’Architecture” stamped in gilt on spine; marbled papers slightly darkened where leather spine meets the paper on upper and lower covers; heavy scuffing and nicking to board edges; gutter visible and sewing weakened inside front endpaper, but binding still holding nicely; endpapers folded because of insertions; internally the plates are quite free of foxing, though some pages exhibit faint patches; faded tidal marks on the last few plates making slight incursion from lower margins. It appears that the firm, Tirrart, or someone choosing from the illustrations, used red ink to cross through many of the designs, possibly indicating that they were no longer available or not to be used. This crossing out is carefully applied and does not obscure the basic design. 
Large colour samples in a variety of deep pastels.
24 (Trade Catalogue – Paint) GOODLASS, WALL 7 CO., LTD, manufacturers. PINTESCO WASHABLE WATER PAINT (cover title) Made in White, Broken White, and 36 Beautiful Pastel Shades. (title page) Liverpool and London Goodlass, Wall & Co., Ltd. n.d. ca. 1928.
Nicely preserved sample catalogue with softly vibrant full page colour samples printed on rectos only and measuring 25 x14.cm. There are 36 colours listed, although a printed note added indicates some that have been withdrawn, all of those presented in remarkable condition with colours ranging from Ivory, Deep Cream, Primrose and “Suede” to Alice Blue, Lancaster Green, Rhodesian Yellow, Japanese Blue, Crimsom and Chocolat. This is an oil bound washable water paint needing thinning only with water. The manufacturers inform us that “Pintesco” was selected for service in the Royal Palaces and for decoration and preservation of sumptuous, historic, and important buildings throughout the Kingdom.” Oblong stapled pamphlet 15 x 25.2 cm ; 8 pp + 36 full page paint samples. endpapers and rear cover advertising the firm.
Original printed wrappers, printed cloth spine. Very good. Interior samples are fine. 
25 (WOMEN IN GARDENING AND AGRICULTURE) GREVILLE, Frances, Evelyn “Daisy”, Countess of Warwick (ed.) THE WOMAN’S AGRICULTURAL TIMES. A Quarterly Magazine Devoted To The Lighter Branches of Agriculture, Rural Industries, And Country Life Generally. Studley Castle, Studley Castle Agricultural Association Limited, 1904.
Lady Warwick was the famous Edwardian philanthropist and gardener who founded the Studley Castle College For Women Gardeners. Her inherited 1000 acre estate at Easton Lodge near Dunmow in Essex included a range of romantic and “arcadian” gardens including a Dairy Garden, “Rosarie”, “Border of Sentiment”, “Garden Of Scripture”, Friendship Garden (with plants donated by friends, including the Prince of Wales) and, most notably, “her Shakespeare Border, full of scented herbs, marigolds, gillyflowers, eglantine, musk and damask roses and other flowers associated with him (and approved by Ruskin), each labeled with a pottery butterfly containing the relevant quotation.” (-Ottewill. THE EDWARDIAN GARDEN, pg. 151). This last garden was the inspiration for Walter Crane’s FLOWERS FROM SHAKESPEARE’S GARDEN. Here, in this volume of the Agricultural Times, are illustrated articles on the first year at Studley Castle school, an article on “Notable Women Workers” by Miss Beale of the Ladies College, Cheltenham, garden notes, and many ads from rural and agricultural businesses of the period. Most uncommon. Small 4to (23 x 18cm); 254 pp. illustrated from photographs and enhanced by some decorative chapter headings.
Pictorial cloth rubbed and worn at extremities; original endpapers darkened; some wide openings at gutters, but sewing firm; a good copy.