LIST 35: Recent Arrivals

List 35: Recent Arrivals in the fields of Art for Children, Colour, and Interactive Books.

Shown below are 25 recent additions newly posted to this website.  

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  • (Children’s Art - Interactive Book)
    ALLONS VITE. by CELLI, Rose et Nathalie PARAIN.
    CELLI, Rose et Nathalie PARAIN.
    ALLONS VITE.

    First edition. Most prominent among the Russian born artists who helped create the Père Castor phenomenon was Nathalie Parain (born Natalia Tchelpanova), who acquired her early training among the Russian avant-garde constructivists and brought her talent to Paris where she was discovered by Paul Faucher, the originator of Les Albums du Père Castor. In ALLONS VITE (Album du Père Castor No.9), she illustrates boldly coloured objects of simple shape depicting transportation modes, from a transatlantic passenger ship to a camel in the desert. Young readers are instructed to cut out copies of the images they see, using coloured sheets of paper bound into the book for the purpose and being careful to cut to the shape indicated by colour: for…

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    First edition. Most prominent among the Russian born artists who helped create the Père Castor phenomenon was Nathalie Parain (born Natalia Tchelpanova), who acquired her early training among the Russian avant-garde constructivists and brought her talent to Paris where she was discovered by Paul Faucher, the originator of Les Albums du Père Castor. In ALLONS VITE (Album du Père Castor No.9), she illustrates boldly coloured objects of simple shape depicting transportation modes, from a transatlantic passenger ship to a camel in the desert. Young readers are instructed to cut out copies of the images they see, using coloured sheets of paper bound into the book for the purpose and being careful to cut to the shape indicated by colour: for example, the brown shape of the camel is distinguished from the yellow background of the sand and the elements carried on his back further distinguished by colour. Once assembled, the child could glue his copies onto cardboard to hang and, then, move on to add other elements to the scene in this fashion or to create entirely new scenes. Thus, like the beaver or” le castor”, the child reader was also a constructor. Speaking of ALLONS VITE, Claude- Anne Parmegiani notes that “Natalie Parain expérimente les propriétés dynamiques de la couleur, susceptibles de suggérer la vitesse et le movement à l’aide de larges aplats.” (LES PETITS FRANÇAIS ILLUSTRÉS, 1860-1940, p. 281) See also Lemmens, A. and S. Stommels. RUSSIAN ARTISTS AND THE CHILDREN’S BOOK 1890-1992 for more on these Russian artists and their work in children’s literature. The title page has a paste-down identifying Celli as author and Parain as illustrator. A work that is very difficult to find with the colour sheets of paper still bound in. “Les images parlent tout de suite clairement...Elles bougent.”

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    Original flexible card covers printed in vibrant colours, some creases in the covers and a light overall dusting and shelfwear, spine rubbed; neatly penned previous owner’s name on title page, but a well preserved copy with all coloured tissue inserts present.

    ID#: 16630
    View cart More details Price: £375.00
  • Children’s Art Education-Interactive
    L’ECOLIER DECORATEUR. by Chevry, M.
    Chevry, M.
    L’ECOLIER DECORATEUR. Application Du Programme Officielle Du 27, Juillet, 1909

    Paris: Monrocq Freres, (1909). Six "cahiers" for primary school students with progressive exercises in decorative composition in colour. Each of the 6 cahiers contains 5 full page plates of color printed decoration studies in the contemporary Art Nouveau style. Each plate offered for study shows drawings by Chevry of applications of floral and other natural forms to decorative objects, such as a ldamp shade, decorative pillow cover, a vase, a rug, a piece of jewelry, a letter formed of flower and stem. The young student is encouraged to take inspiration and use natural forms in his/her own design. Surely a contribution toward the spread of the Art Nouveau spirit into myriad aspects of French decoration before the first world war.…

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    Paris: Monrocq Freres, (1909). Six "cahiers" for primary school students with progressive exercises in decorative composition in colour. Each of the 6 cahiers contains 5 full page plates of color printed decoration studies in the contemporary Art Nouveau style. Each plate offered for study shows drawings by Chevry of applications of floral and other natural forms to decorative objects, such as a ldamp shade, decorative pillow cover, a vase, a rug, a piece of jewelry, a letter formed of flower and stem. The young student is encouraged to take inspiration and use natural forms in his/her own design. Surely a contribution toward the spread of the Art Nouveau spirit into myriad aspects of French decoration before the first world war. Scarce. We locate no other copy of the complete series in OCLC, COPAC or KVK. One copy of a single cahier only at Watson Library, Metropolitan Museum. Make a necklace in a jasmine design

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    The six cahiers have been bound together in plain flexible cloth covers with a duplicate of the paper wrappers mounted on front and rear; with short cracks in lower front rearand joints; covers gently rubbed at extremities, some minor and faded old stains to exterior paste downs; internally very good.

    ID#: 16664
    View cart More details Price: £400.00
  • ( Children’s Art Education - Interactive)
    HOW TO LOOK AT PAINTINGS. by PAINE, Roberta M.
    PAINE, Roberta M.
    HOW TO LOOK AT PAINTINGS. A Guide For Children.

    A simple but clever aid for children learning about art. Eight full color reproduction plates of well known paintings selected for their demonstration of line, color, shape and arrangement are enclosed in a flap at the back of the pamphlet. Young readers are instructed to paste the corresponding plate in the appropriate blank page opposite the description and simple analysis of the painting.

    Original glossy paper covers printed in black and white. Fine.

    ID#: 16652
    View cart More details Price: £30.00
  • (Children’s Art Education)
    CARNET DU JEUNE DESSINATEUR. by Bellanger, Camille.
    Bellanger, Camille.
    CARNET DU JEUNE DESSINATEUR.

    First and only edition; rare. A very well preserved series of drawing exercises lithographed by the artist Bellanger for the use of children. Bellanger stresses that these exercises should serve only as a guide and not as models to be followed rigidly. The plates illustrate a wide range of objects, from instruments to be used; to line studies; leaf patterns; geometrical patterns; simple perspective with utilitarian objects; shadowing with use of crayons; basic ornaments; household objects; fruits, animals; and objects of increasing complexity. Each plate bears titles in French and in Spanish; the introductory sheet is similarly in French and Spanish. Bellanger studied under Alexandre Cabanel and William Bouguereau at the École de Beaux Arts in Paris. A regular exhibitor…

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    First and only edition; rare. A very well preserved series of drawing exercises lithographed by the artist Bellanger for the use of children. Bellanger stresses that these exercises should serve only as a guide and not as models to be followed rigidly. The plates illustrate a wide range of objects, from instruments to be used; to line studies; leaf patterns; geometrical patterns; simple perspective with utilitarian objects; shadowing with use of crayons; basic ornaments; household objects; fruits, animals; and objects of increasing complexity. Each plate bears titles in French and in Spanish; the introductory sheet is similarly in French and Spanish. Bellanger studied under Alexandre Cabanel and William Bouguereau at the École de Beaux Arts in Paris. A regular exhibitor at the Paris Salon, he also taught drawing at the École Spéciale Militaire de St. Cyr in Brittany. In Brittany, he was influenced by the numerous landscape painters and modernists coming to paint there. After the production of this work, he published a comprehensive art instruction book in 1898 entititled LE PEINTRE: TRAITÉ USUEL DE PEINDRE À L’USAGE DE TOUT LE MONDE. (see Whitmore Janet www. rehs.com/ Camille_ Felix_ Bellanger_Bio.) Of this CARNET, we find only an incomplete copy located at Lyon in OCLC. “Apprendre à voir juste: tout est là.”

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    In very good condition. Original red pochette or portfolio, in coated stock imitating red leather, with large illustrated printed paper title label on upper cover, label a bit scuffed or worn at edges, but illustration and printed title are very good. Lithographed plates in fine condition.

    ID#: 16625
    View cart More details Price: £300.00
  • (Children’s Art Education)
    BRADLEY'S GRADED COLOR PORTFOLIO by DAWSON, Kathryn Grace.
    DAWSON, Kathryn Grace.
    BRADLEY'S GRADED COLOR PORTFOLIO Outline of Work for 1st, 2d and 3d Grades.

    “In the 1880s, Bradley began to develop the color materials that would lead SCHOOL ARTS MAGAZINE to dub him the ‘god-father of color instruction.’” (Blaszczyk, THE COLOR REVOLUTION p. 48). By the early years of the 20th century, Bradley was busy supplying tools for art and color instruction such as this BRADLEY’S COLOR PORTFOLIO written by Kathryn Dawson. (It is pictured in THE COLOR REVOLUTION, pp. 48-49.) Dawson’s choice of crayon exercises rather than watercolours for younger children demonstrates a sincere attention to childhood artistic development: “The child in these grades has a wider and surer sweep with the crayon than with the brush, and therefore gains more freedom and has more control over the little hand.” The coloured scenes…

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    “In the 1880s, Bradley began to develop the color materials that would lead SCHOOL ARTS MAGAZINE to dub him the ‘god-father of color instruction.’” (Blaszczyk, THE COLOR REVOLUTION p. 48). By the early years of the 20th century, Bradley was busy supplying tools for art and color instruction such as this BRADLEY’S COLOR PORTFOLIO written by Kathryn Dawson. (It is pictured in THE COLOR REVOLUTION, pp. 48-49.) Dawson’s choice of crayon exercises rather than watercolours for younger children demonstrates a sincere attention to childhood artistic development: “The child in these grades has a wider and surer sweep with the crayon than with the brush, and therefore gains more freedom and has more control over the little hand.” The coloured scenes in the plates offered for copying and the instructions in the little text thus emphasize strokes - sideward, outward, etc.- which Dawson asserts will later be used on form. This item seems to be rare: In OCLC we find only one copy of the portfolio for the 7th and 8th grades in the US, but we do not find this one for these earlier grades. +

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    All in excellent condition but for the portfolio envelope which has closed tears, soiling and lacks the closure flap.

    ID#: 16623
    View cart More details Price: £125.00
  • (Children’s Arts and Crafts)
    THE 'AUTO' / MONTHLY SUGGESTIONS ON INDIVIDUAL WORK APPLIED TO TOPICAL EVENTS. by WELLOCK, M. J.
    WELLOCK, M. J.
    THE 'AUTO' / MONTHLY SUGGESTIONS ON INDIVIDUAL WORK APPLIED TO TOPICAL EVENTS. Vol IV/ July to December, 1924

    Mabel Jane Wellock, holder of a Higher Froebel certificate and a Montessori diploma, published A MODERN INFANT SCHOOL in 1932. Prior to that she wrote this monthly publication containing illustrations and drawing instructions for seasonal flowers and trees - children are encouraged to make stencils from the given designs. These designs could also be applied to pottery, embroidery, and multiple other everyday objects. Additionally, the themes of the month, such as Thanksgiving and Halloween, (with acknowledgement that this would also be appropriate for an English school) become the occasion for more creative work. Poster work is covered throughout with careful instruction in design and lettering. Ads for teaching materials ranging from colour grading cards to boxes of seeds and shells…

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    Mabel Jane Wellock, holder of a Higher Froebel certificate and a Montessori diploma, published A MODERN INFANT SCHOOL in 1932. Prior to that she wrote this monthly publication containing illustrations and drawing instructions for seasonal flowers and trees - children are encouraged to make stencils from the given designs. These designs could also be applied to pottery, embroidery, and multiple other everyday objects. Additionally, the themes of the month, such as Thanksgiving and Halloween, (with acknowledgement that this would also be appropriate for an English school) become the occasion for more creative work. Poster work is covered throughout with careful instruction in design and lettering. Ads for teaching materials ranging from colour grading cards to boxes of seeds and shells and “Kindercraft” number blocks appear on the preliminary and rear pages. We have found no trace of this Vol. IV of the ‘Auto’ MONTHLY SUGGESTIONS periodical or its other numbers in OCLC (in spite of the fact that reference to Vol.I and Vol. II appears on the title page here.) A project abandoned? An interesting one, though, heavily illustrated and with well integrated instruction stressing informed fundamental approaches to craft and artwork.

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    Original cloth-backed paper over boards with title and illustrations printed in black on upper cover; very light edge wear to extremities; some light offsetting to endpapers, else fine.

    ID#: 16633
    View cart More details Price: £100.00
  • (Chromolithographed Advertising Card)
    A COLOURING CARD FOR CHILDREN by (Au Bon Marché)
    (Au Bon Marché)
    A COLOURING CARD FOR CHILDREN

    This little oblong chromolithograhed card for children shows a scene of very young people at their easels painting a rustic scene centering on the figure of a young boy and dog. The scene is surrounded with a gilt Art Nouveau border. The oblong card opens up to a colour printed scene on the verso and the identical scene in outline designed for colouring in on the opposite recto. The rear cover or verso advertises the La Maison du Bon Marché located on the Left Bank in Paris. Such cards were offered to young children who came to the department store in the company of their parents. The card themes varied considerably, this one surely designed to encourage sales of art…

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    This little oblong chromolithograhed card for children shows a scene of very young people at their easels painting a rustic scene centering on the figure of a young boy and dog. The scene is surrounded with a gilt Art Nouveau border. The oblong card opens up to a colour printed scene on the verso and the identical scene in outline designed for colouring in on the opposite recto. The rear cover or verso advertises the La Maison du Bon Marché located on the Left Bank in Paris. Such cards were offered to young children who came to the department store in the company of their parents. The card themes varied considerably, this one surely designed to encourage sales of art supplies to the young. En Plein Air

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    Original printed card stock with chromolithographed illustration on upper cover; lithographed design, partially with colour, and text internally and on lower cover. Very good.

    ID#: 16653
    View cart More details Price: £40.00
  • (Colour Alphabet)
    СКАЭОЧНАЯ АЗБУКА. (SKAZOCHNAIA AZBUKA). (A FAIRY TALE ALPHABET). by MAVRINA, Tatiana Alekseevna.
    MAVRINA, Tatiana Alekseevna.
    СКАЭОЧНАЯ АЗБУКА. (SKAZOCHNAIA AZBUKA). (A FAIRY TALE ALPHABET).

    The large format edition of this brilliantly coloured Cyrillic alphabet by Mavrina. “Née à Nijni Novgorod, cette dessinatrice, illustrateur, et peintre russe est une figure emblématique du petit groupe des artistes préservés tout au long du siècle par les régimes successifs.” (Lévèque et Plantureux, DICTIONNAIRE DES ILLUSTRATEURS DE LIVRES D’ENFANTS RUSSES, p. 175.) Within each letter of the alphabet, itself an explosion of colour in the folkloric style favoured by this Russian artist, there is a folk tale. The letters are printed large and free-form in gold, silver, blues, reds, greens, etc., and each letter is filled with extraordinary fairy tale characters representing a tale such as the fire-bird or the frog princess. Additional illustrations carry out the tale and…

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    The large format edition of this brilliantly coloured Cyrillic alphabet by Mavrina. “Née à Nijni Novgorod, cette dessinatrice, illustrateur, et peintre russe est une figure emblématique du petit groupe des artistes préservés tout au long du siècle par les régimes successifs.” (Lévèque et Plantureux, DICTIONNAIRE DES ILLUSTRATEURS DE LIVRES D’ENFANTS RUSSES, p. 175.) Within each letter of the alphabet, itself an explosion of colour in the folkloric style favoured by this Russian artist, there is a folk tale. The letters are printed large and free-form in gold, silver, blues, reds, greens, etc., and each letter is filled with extraordinary fairy tale characters representing a tale such as the fire-bird or the frog princess. Additional illustrations carry out the tale and accompany the letters. The designs almost burst from the page; in some cases, a dramatic a double-page design is offered. The backgrounds to the pages are printed in different colours lending mood and impact to the varied scenes. No doubt Mavrina’s childhood years spent witnessing the decorative stage settings and performances of fairy tales organized for children by her mother had an influence on this book (see Lemmens and Lemmens, RUSSIAN ARTISTS AND THE CHILDREN’S BOOK 1890-1992 p. 371). Tatiana Mavrina was a painter, illustrator and author who began her career in Moscow during the early years of the “vkhutemas” revolutionary state art and technical studios. She went on to take part in the art group, Trinadsat, or The Thirteen. During WWII she travelled to the older Russian cities whose important architecture was being destroyed and began to sketch ruins and remains. “ These drawings I understood as preparatory studies for my fairy tale illustrations.” ( as quoted in Lemmens and Lemmens p. 373). While she experimented with different styles and influences during the years, the exuberance of folkloric forms and brilliant colour came to characterize her best work. “ Her art culminated in Skazochnaia Azbuka in which there is a complete unity between verbal and pictorial elements on each of the pages.” Lemmen and Lemmen p. 379) “A Rhythmic Arrangement of Text and Illustrations” Cotsen No. 23187 for this large format with additional white protective jacket.

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    Original flexible orange covers printed in gilt; dust-jacket printed in gold with multi-colour pictorial designs and lettering, some very small nicks, rub marks, and tears just to the edges only of the dust jacket. A very good copy.

    ID#: 16649
    View cart More details Price: £375.00
  • (Paint Samples)
    LES SIX COULEURS FONDAMENTALES DU COLORIS. by BOURGEOIS Ainé, manufacturer.
    BOURGEOIS Ainé, manufacturer.
    LES SIX COULEURS FONDAMENTALES DU COLORIS. Donnant Par Leur Mélange Les Tons Les Plus Usités.

    Joseph Bourgeois Ainé opened a store selling artist's colours in Paris in the late 1860s. He later opened a factory at Montreuil sous Bois where he manufactured the first "non dangerous" colors. "Bourgeois s'interessera beaucoup à la democratisation de la pratique de la peinture et commercialisera les 1ères couleurs primaires destinées aux écoles." (www.lefranc-bourgeois.com/loisirs/produits-historique.html). This small (22 x 14.5 cm) coloured broadside printed on stiff card makes a special point of noting “Sans Danger par les enfants” In a colourful, of course, and attractive arrangement, the “Tons Purs” ( L. carminée; bleu de prusse; gomme gutte; noir; terre de Sienne; blue céleste) are printed in small rectangles spread out in an arc while below them the actual cakes of those…

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    Joseph Bourgeois Ainé opened a store selling artist's colours in Paris in the late 1860s. He later opened a factory at Montreuil sous Bois where he manufactured the first "non dangerous" colors. "Bourgeois s'interessera beaucoup à la democratisation de la pratique de la peinture et commercialisera les 1ères couleurs primaires destinées aux écoles." (www.lefranc-bourgeois.com/loisirs/produits-historique.html). This small (22 x 14.5 cm) coloured broadside printed on stiff card makes a special point of noting “Sans Danger par les enfants” In a colourful, of course, and attractive arrangement, the “Tons Purs” ( L. carminée; bleu de prusse; gomme gutte; noir; terre de Sienne; blue céleste) are printed in small rectangles spread out in an arc while below them the actual cakes of those colours are attached and displayed.. Below the colour cakes is an oval of 30 small printed colour rectangles entitled “Aperçu des tons que l’on obtient par le mélange convenable de ces couleurs fines.” and, then, below that, instructions for mixing. It’s a pleasing piece, for direct use or, perhaps, for advertising display in a supplier’s shop, with a grommetl ning at the top for hanging and, on the back, black and white illustrations and descriptions of various articles for the school - paint boxes, crayons, etc...... Bourgeois Ainé provided considerable competition to paint manufacturer, Lefranc & Cie, and, eventually, they merged in 1967. Stiff card printed on one side in colour and in black and white on verso, 22 x 14.5 cm; 6 original colour cake samples fastened to the card. (with) MORIN, C. LE MÉLANGE DES COULEURS/ La Lumière Et Les Ombres/ Les Valeurs-Les Reflets. Paris: Bourgeois Ainé, n.d. ca. 1910. A scarce pamphlet in which Charles Camille Morin gives practical advice to fellow artists. It is offered here because it includes a text illustration in reduced black and white of this exact broadside above. We find one copy of this at the Bibliothèque Nationale and another at the Getty bound in a sammelband entitled COULEURS compiled by A. Demaziere. Both items are scarce. With Original Colour Cakes

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    In fine condition; the original color cakes, though darkened on the surface, are untouched with their embossed designs intact. Quite an amazing survival.

    ID#: 16642
    View cart More details Price: £600.00
  • (Colour)
    A COLOR NOTATION by MUNSELL, A.H.
    MUNSELL, A.H.
    A COLOR NOTATION A Measured Color System, Based On The Three Qualities Hue, Value, and Chroma With Illustrative Models, Charts, And A Course Of Study Arranged For Teachers.

    Presentation copy from the author to the symbolist artist, designer, and book illustrator, Elihu Vedder, with a letter to Vedder from Munsell tipped in. Second, enlarged edition of Munsell’s first book. In the brief letter dated August 20, 1908 from Belgium, Munsell apologizes for the improper placement of the plates in the text - fault of a binder in Bruges. Evidently Munsell had this specially bound and was unhappy with the result. This is the second edition of this work (first published in 1905), revised and enlarged with new illustrations. "The new illustrations in this edition are facsimiles of children's studies with measured colour, made under ordinary school-room conditions. Notes and appendices are introduced to meet the questions most frequently…

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    Presentation copy from the author to the symbolist artist, designer, and book illustrator, Elihu Vedder, with a letter to Vedder from Munsell tipped in. Second, enlarged edition of Munsell’s first book. In the brief letter dated August 20, 1908 from Belgium, Munsell apologizes for the improper placement of the plates in the text - fault of a binder in Bruges. Evidently Munsell had this specially bound and was unhappy with the result. This is the second edition of this work (first published in 1905), revised and enlarged with new illustrations. "The new illustrations in this edition are facsimiles of children's studies with measured colour, made under ordinary school-room conditions. Notes and appendices are introduced to meet the questions most frequently asked, stress being laid on the unbalanced nature of colors usually given to beginners, and the mischief done by teaching that red, yellow, and blue are primary hues." (-preface). The text was presented to the Society of Arts at MIT in 1905 and reproduces the comments at that occasion made by H.E. Clifford who notes its usefulness to young children. Munsell’s systematic approach to colour and his interest in cultivating good taste through a “language “ of color and its subtleties brought him into conflict with Bradley and Prang on the education front, but he found success in commercial realms, particularly with the large retail market of the of Filene’s department store in Boston. See Blaszczyk, R.L. THE COLOR REVOLUTION pp. 45-70. “Color is in us - not outside.” Karpel E152 (1926 edition)

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    Bound in full leather with green silk moiré endpapers, inner front hinge slit along endpapers, but threads are firm; scattered and irregular very heavy browning to some pages. Penned presentation inscription to Vedder on front flyleaf and tipped- on signed letter in pen from Munsell to Vedder presenting him with the specially bound book and thanking him for his kindness to himself and, possibly, to his son, Enoch ( the name is not quite legible). Munsell’s letter is written on stationery with the crossed-out imprint of the S. Venezia out of Marseille; hand-written return address of Heyst-sur-Mer, Belgium.

    ID#: 16646
    View cart More details Price: £150.00
  • (Children’s Colour Game)
    HOLLANDSE BOERKENS EN BOERINNEKENS (DUTCH FARMERS AND FARMERS’ WIVES). by ZUSTERS ANNONCIADEN VAN HULDENBERG NORMAALSCHOOL - WIJNEGEM (Annunciation Sisters of the Huldenberg Normal School).
    ZUSTERS ANNONCIADEN VAN HULDENBERG NORMAALSCHOOL - WIJNEGEM (Annunciation Sisters of the Huldenberg Normal School).
    HOLLANDSE BOERKENS EN BOERINNEKENS (DUTCH FARMERS AND FARMERS’ WIVES). Kleurenspel voor het 2nd jaar van de kindertuin (Colour Play For the 2nd Year of Kindergarten).

    A stunning colour game, evidently the product of a teachers’ school run by the Annunciation Sisters of Huldenberg in Belgium. The publisher, J. Blokland, specialized in educational resources for preparatory education. The games described in the instruction sheet depend upon the student’s ability to quickly appreciate colour distinctions. There are twelve large cards or plates of Dutch peasant figures in costume that differ from each other only by the colour of the trousers, shoes, blouses, scarves, and hats. The impact of these varying colour arrangements on the same design is dramatic. Each one of the large cards is accompanied by ten smaller cards in the same colour arrangement. The games to be played by the children involve various ways of…

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    A stunning colour game, evidently the product of a teachers’ school run by the Annunciation Sisters of Huldenberg in Belgium. The publisher, J. Blokland, specialized in educational resources for preparatory education. The games described in the instruction sheet depend upon the student’s ability to quickly appreciate colour distinctions. There are twelve large cards or plates of Dutch peasant figures in costume that differ from each other only by the colour of the trousers, shoes, blouses, scarves, and hats. The impact of these varying colour arrangements on the same design is dramatic. Each one of the large cards is accompanied by ten smaller cards in the same colour arrangement. The games to be played by the children involve various ways of matching the correct colour scheme of the smaller cards with the larger ones. The way that the vibrant colour arrangements impact the impression formed of the same figure is really a striking illustration of contemporary artistic thought about colour. A marvellous exercise for children (or anyone) to experience the power of colour to shape and change an image, an impression of space, and of emotion. So far, we have not found any holdings for this among the usual library online catalogues. Colour Play/ Colour Power for Kindergarten

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    12 large and 120 smaller color printed cards in vibrant color in original box with printed and folded rules sheet. Paper covered box with original printed label is chipped and separated corners have some amateur tape repairs, but it is stable and otherwise clean. A very good set.

    ID#: 16640
    View cart More details Price: £400.00
  • (Colour)
    DIALOGUE SUR LE COLORIS. by (PILES, Roger de)
    (PILES, Roger de)
    DIALOGUE SUR LE COLORIS. (bound with:) FIGURES D’ACADEMIE, Pour aprendre à désiner. Gravées Par S.L.C.

    Roger de Piles was an important French art critic and theorist. This first edition of his treatise on colouring opened the famous “debate of the colourists” which dominated French esthetic thought at the end of the seventeenth century. The argument which followed divided its participants into two camps with, on one side, an established classical school which held drawing and design to be the essential qualities of great art, while an opposing camp of “modernists”, lead by de Piles, held colouring and the effects of light and shadow to be the most essential elements of pictorial art. Raphael and Poussin stood as the ultimate models for the partisans of design while Rubens and Titian were championed by the colourists. De…

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    Roger de Piles was an important French art critic and theorist. This first edition of his treatise on colouring opened the famous “debate of the colourists” which dominated French esthetic thought at the end of the seventeenth century. The argument which followed divided its participants into two camps with, on one side, an established classical school which held drawing and design to be the essential qualities of great art, while an opposing camp of “modernists”, lead by de Piles, held colouring and the effects of light and shadow to be the most essential elements of pictorial art. Raphael and Poussin stood as the ultimate models for the partisans of design while Rubens and Titian were championed by the colourists. De Piles’ DIALOGUE SUR LE COLORIS (Dialogue On Colouring) was seminal in defining the theoretical viewpoint of this latter, ultimately triumphant, group. He emphasised, in particular, the use of chiaroscuro and first introduced the term clair-obscur to identify this technique. The theories that de Piles first published here influenced art historical discussions long afterwards and find echoes in other later aesthetic arguments between classical and modern schools of art. As usual, his DIALOGUE SUR LE COLORIS is found here bound with another work, in this case the first edition of Sébastien Le Clerc’s FIGURES D’ACADEMIE POUR APRENDRE À DÉSINER, also published by Langlois. Le Clerc’s work offers a series of muscular male nude studies of mythological or classical figures. It is now reasonably rare, with OCLC locating 12 copies outside of France, of which only 3 are in North American libraries Invention Of The Term “Clair-Obscur” Berlin Catalogue 4619 for both items.

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    Contemporary full calf with careful restorations at corners and head and heel of spine; faded gilt tooled compartments and gilt titling compartment to spine; interior clean and tight.

    ID#: 16317
    View cart More details Price: £850.00
  • (Interactive- Cut-Out Cards)
    "Model Farmyard." (packet title) by A.M. Davis & Co. Ltd./Quality Cards (publisher).
    A.M. Davis & Co. Ltd./Quality Cards (publisher).
    "Model Farmyard." (packet title) A delightful Occupation For Children Of All Ages Who Find Much Pleasure In Colouring And Cutting Out the 12 Large Cards....

    An interactive printed project for children offering cut-out images to be coloured,formed, folded, and arranged to produce a farmstead scene. The scene, itself, is represented on the cover of the cards packet. The images to be coloured and made three dimensional include the farmhouse, its garden and hedges, barn, cornfield, hay cart, pond, and figures of animals and people. This complete set was No. 756 in a series for painting and constructing. Other series (some listed on the packet) were also offered by the Davis firm, famous for greeting cards, kindergarten outline painting and embroidery, etc. The firm was represented at the 1947 British Industrial History fair. Scarce. “Hand and Eye are trained to act in unison”

    The twelve cards are in excellent condition; the printed and illustrated packet is in very good condition with only a few small tears at folds.

    ID#: 16648
    View cart More details Price: £100.00

 

Also of possible interest…

  • (Perspective)
    COURS ELEMENTAIRE DE PERSPECTIVE A L'USAGE DES DAMES, by FARCY, C(harles François).
    FARCY, C(harles François).
    COURS ELEMENTAIRE DE PERSPECTIVE A L'USAGE DES DAMES, Avec Figures Et Dessins Lithographies;

    The text takes the form of a series of letters to "Madame." Farcy also wrote a manual on design and painting. The folding plates are printed in lithography by Langlumé, with the final one showing a full perspective plan of a house and parterre.

    Original paper wrappers, slightly foxed but still very well preserved in glassine; text untrimmed.

    ID#: 14833
    View cart More details Price: £150.00
  • (Paper Dolls)
    LA MALLE MERVEILLEUSE by ARMA, Edmée et Marthe FAUCHON.
    ARMA, Edmée et Marthe FAUCHON.
    LA MALLE MERVEILLEUSE

    With beautifully rendered printed costumes, set against an overall decorative background, to be carefully cut out for dressing the doll whose front and back profiles could be removed from the rear or lower cover. Smaller illustrations, also on the rear cover, show the completed costumes representing folk dress from Austria, Spain, Holland, Hungary Italy, Serbia, Sweden and the Ukraine. Appeared as part of the collection “Les Farfardets” directed by Edmée Arma. The “letter” laid in is from Ziguezag, the elf in charge of dressing fairies and addressed to the young girl reader instructing her to cut out costumes for the doll and enjoy the marvels of this magical suitcase. A charmer. European Paper Dolls in Vibrant Colors.

    Original stiff paper covers, printed in colors; internally vibrant; a fine copy.

    ID#: 16409
    View cart More details Price: £125.00