DISTINGUISHED TYPOGRAPHY - Bloomsbury Auctions

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DISTINGUISHED TYPOGRAPHY - Bloomsbury Auctions

DISTINGUISHED

TYPOGRAPHY

FROM THE LIBRARY OF

JAN VAN DER MARCK

Monday 8th June 2009

London


Lo n d o n de pa rt m e n t s

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PAINTINgS, ANTIqUe PRINTS ANd MAPS

Robert Hall Head of Department

MOdeRN & CONTeMPORARY PRINTS

Alexander Hayter International Head of Modern Prints Department

Tabitha Phillpott-Kent Modern Prints Specialist

PHOTOgRAPHS

Zoe Bingham Head of Photographs Department

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POSTeRS

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Front Cover Illustration: Lot 178

Back Cover Illustration: Lot 41

Layout: Scott Harvey

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Catalogue of

Distinguished Typography

from the library of Jan van der Marck

Sale 685

Specialist in Charge

Dido Arthur

darthur@bloomsburyauctions.com

To be sold by auction at

Bloomsbury House

24 Maddox Street

London W1S 1PP

on Monday 8th June 2009

at 1.00pm precisely

Viewing beforehand on

Thursday 4th June from 9.30am to 5.30pm

Friday 5th June from 9.30am to 5.30pm

Saturday 6th & Sunday 7th June by appointment only

Monday 8th June from 9.30am to 1.00pm

Bloomsbury House | 24 Maddox Street | London | W1S 1PP

T +44 (0) 20 7495 9494 | F +44 (0) 20 7495 9499

info@bloomsburyauctions.com | www.bloomsburyauctions.com


2

More than a resolute collector, Jan van der Marck has become the

author of his collection. This typographic composition is a truer

reflection of what he made than it is a collection of disparate holdings.

This pageant of type has become his being and reflects the ornament,

the substance, and the mission of his epicurean taste. These books

and the catalogue identify Jan and prepare the viewer and reader for

a spiritual aesthetic and uncompromising vision of typographical

elegance. Interestingly enough, the result is an overall presentation of

piety, which shouldn’t be surprising to those of us who know of Jan’s

superior knowledge and command of the materials he is building

with. This is Jan van der Marck’s truth.

The array of works in this august assemblage is a reflection of Jan’s

life-long love and obsession. Devotion to finely-printed books was

his destiny. The son of a printer and grandson of a publisher, young

Jan had always been infatuated with type, playing with lead type

when other boys preferred playing with lead soldiers. And even as

European neighbours were succumbing to the madness of burning

books and marching in lock-step to the sound of martial drumming,

his own heart continued to beat true in time to the syncopated

rhythms of his father’s Miehle and Heidelberg presses until those too

were shattered by the percussion of falling bombs. Jan’s faith in the

art of fine printing, however, remained unsullied by the scars of the

Second World War.

As Jan grew to maturity in post-war Netherlands, the artistic and

bibliophile spark within was cultivated into a burning zeal as he studied art history at the Catholic University of Nijmegen

under the mentorship of Frits van der Meer. Although he has since strayed from his early focus on early Christian iconography,

that venture into new directions has liberated and empowered him to embrace more cosmopolitan ideas and ideals concerning

truth and beauty inclusive of more contemporary works of art and bookbinding. Studies at the Bibliothèque Nationale in

Paris and Bibliothèque Royale in Brussels rekindled a passion for Belgian lithographic illustration and wood-engraving, and

earned him high accolades for his Romantische Boekillustratie in België, printed at his family’s press, J.J Romen & Zonen

in 1956.

Jan pursued further studies in art history at the University of Utrecht, Columbia University. A senior fellowship grant

from the Center for Advanced Study in the Visual Arts enabled him in 1986 to study illustrated books and ornamental

bookbindings in Washington D.C. at the National Gallery of Art and Library of Congress. In 1997, Jan also published a

Dutch and English language catalogue on The Art of Contemporary Bookbinding, highlighting master works by Leroux,

Mathieu, de Gonet, Robinson, Ely, et al.

In recognition of Jan’s erudition and lifelong commitment to celebrating the virtues of finely-printed and finely-bound

books, he was invited in 2006 by Belgian industrialist and bibliophile, Michel Wittock to join the “comité scientifique” of

the prestigious Bibliotheca Wittockiana in Brussels. The Assemblée Générale of Les Amis de La Reliure Originale in Paris

also saw fit to elect him to a four year term as comité directeur.

Jan’s present catalogue returns him full circle to his first passion and obsession: the world of fine print books. Although

the current selection of works includes nearly one hundred examples of finely-crafted vellum and designer bindings, the real

focus here is on fine typography. Here Jan has put his erudition, curatorial training, and expertise to use selecting works from

the interwar period, a time of renaissance for fine typography and fine print books. He approaches the subject with the zeal of

a missionary, so that the reader too cannot but help be swept up in the enthusiasm of his crusade to laud the achievements of

his unsung heroes-the typographers and fine press printers, usually buried and barely acknowledged if at all in the colophons

at the book’s end.

This catalogue highlights some of the great innovators of type and layout design, and exemplary print presses in Europe

and America. The selection includes such typographic and layout design innovators as S.H. de Roos, Jan van Krimpen, Henri

van de Velde, A.A.M. Stols, and others. It also highlights celebrated works produced by such prestigious printers and presses

as the Golden Cockerel and Gregynog presses in Great Britain, and Charles Nypels at the Leiter-Nypels in Maastricht,

Netherlands.

Jan has meticulously researched and provided painstakingly-detailed descriptions of his collection. But the result is no

mere catalogue or list of books; rather, it is an homage to and historiography of his personal canon of the finest type designers,

engravers, and printers. Here Jan has elevated the typographer and layout designers to the same level of importance as author

and illustrator and binder. His descriptions dote just as lovingly on the details of the presses where the books were printed,

and under whose supervision the works took life. Whether in noting the quality of the papers, the watermarks, vignettes,

artist monograms-nothing escapes his exacting eye. The catalogue was so obviously a labour of love, and in it Jan reveals

the best qualities of a passionate antiquarian and bibliophile.

Mitchell Wolfson, Jr., Founder, The Wolfsonian

Francis Xavier Luca, Chief Librarian, The Wolfsonian-Florida International University Library

Bloomsbury Auctions are grateful to Jan van der Marck for providing many of the supplementary notes and cataloguing details.

BLOOMSBURY AUCTIONS


All lots are offered subject to the Conditions of Sale and Business

printed in this catalogue, and reserves.

Charles Ricketts and the Vale Press

Lot 1

1. Longus. Da p h n i s a n D Ch l o e, translated by George

Thornley, one of 210 copies on Arnold’s unbleached

handmade paper, printed in Caslon type by the Ballantyne

Press, 36 wood-engraved illustrations and 102 initials by

Charles Ricketts and Charles H.Shannon, bound in black

morocco, b y J.Fr a n k l i n Mo w e r y , ruled in blind in blocks

of diagonal rules and titled in gilt, black suede doublures

and moiré silk flyleaves, signed at foot of rear doublure

“JFM 93”, modern cloth slip-case, 4to, 283 x 210mm., Elkin

Mathews and John Lane, 1893. £1500 – £2000

* * * The inspiration for this book came from Francesco

Colonna’s Hypnerotomachia Poliphili published by Aldus

Manutius in 1499. On page 97 in the wedding scene woodcut

the artists have included themselves as guests at the table,

along with Lucien Pissarro, Reginald Savage, C.J.Holmes

and T.Sturge Moore to whom the book was dedicated.

ex h i b i t e D: Decorative Arts 1900, Detroit Institute of Arts,

1993-94, no.23.

Lot 3

Lot 2

2. Marlowe (Christopher) and George Chapman. he r o

a n D le a n D e r, one of 220 copies on Arnold’s unbleached

handmade paper, printed in Caslon type by the Ballantyne

Press, 7 wood-engraved illustrations and decorative border

and initials by Charles Ricketts and Charles H.Shannon,

light spotting at beginning and end, bookplate of Philip

A.Robinson by Edward Burne-Jones, original vellum

decorated with rules, small circles and leaf corner-pieces in

gilt, designed by Ricketts and Laurence Housman, signed at

foot of both boards, uncut, very slightly soiled, head of spine

bumped, modern cloth slip-case, 8vo, 200 x 130mm., Elkin

Mathews and John Lane, 1894. £500 – £700

3. Ricketts (Charles) a De F e n C e o F t h e re v i va l o F pr i n t i n g,

one of 250 copies on Arnold’s unbleached handmade paper,

printed in Vale type by the Ballantyne Press, wood-engraved

border, initial and device by Charles Ricketts, a.e.ga l l at i n’s

C o p y with his bookplate and pencil signature dated 1901,

original boards with paper labels, uncut, a little rubbed and

soiled, modern cloth slip-case, 8vo, 190 x 125mm., Hacon

and Ricketts, 1899. £300 – £400

* * * This apologia for the art of printing rejects the generally

accepted notion, embraced by William Morris, that to be

truly beautiful the printed book must retain a genealogical

link or sympathy with the medieval manuscript.

A.E.Gallatin (1881-1952), American collector, writer on art

and bibliographer of Ricketts and Max Beerbohm amongst

others.

The library of Jan van der Marck

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BLOOMSBURY AUCTIONS

Lot 4

4. [Apuleius (Lucius)] De Cu p i D i n i s e t ps y C h e s a M o r i b u s

Fa b u l a a n i l i s, edited by C.J.Holmes, one of 310 copies

on Arnold’s unbleached handmade paper, printed in Vale

type by the Ballantyne Press, wood-engraved border, initial

and five illustrations by Charles Ricketts, endpapers lightly

browned, original holland-backed boards with paper label,

uncut, very slightly rubbed at corners, folio, 290 x 190mm.,

Hacon and Ricketts, 1901. £200 – £300

* * * One of the few large format Vale productions, De

Cupidinis pays homage to the high standard of fifteenth

century printing and demonstrates Ricketts’ exercise of

control over every facet of book production. Notable is the

inking and the very deep impression of the type made from

printing on dampened paper with an elegant watermark

Ricketts designed.

There was no Arts & Crafts movement in the Netherlands,

nor could that country boast of an inspired innovator like

William Morris. Closest, by comparison, came Pieter

Cuypers, a revivalist architect with a huge following and

some signal accomplishments. The Dutch print renaissance

took another decade or two. Initially visual artists with an

architectural bent and spiritual leanings addressed the book,

however printed, as an object to be decorated. Then, a new

generation of writers argued that their work deserved to be

printed in better fashion. In 1907 J.W.Enschedé published

his Logica in Boekdruk, calling for a renewal in type, not

decoration, to save the book from industrial banality. That

same year Sjoerd Hendrik de Roos was hired by the Type

Foundry Amsterdam to create that company’s first new type

face in a century. Three years later Jan Greshoff, J.C.Bloem

and P.N. van Eyck, three young Dutch poets, embarked on a

limited edition venture which they called ‘De Zilverdistel’.

Lot 5

5. Van der Schalk (Henriëtte) so n n e t t e n e n v e r z e n in

t e r z i n e n g e s C h r e v e n, limited edition (number unspecified),

printed in red and black by Joh. Enschedé & Zonen on

handmade paper, designed by R.N.Roland Holst, errata leaf

at end, later limp vellum, gilt, with ties, by Hans van der

Horst, Eenhorn Binderij, 4to, 215 x 172mm., Amsterdam,

Scheltema & Holkema, 1895. £150 – £200

* * * The earliest of four books in the decorative style

predating the revival of typography proper. There is no

denying the influence of William Morris. R.N.Roland Holst,

who would later marry the author of this book, belonged to

the generation of Symbolist painters and illustrators that also

included G.W.Dijsselhof, M.A.J.Bauer and Jan Toorop.


Lot 6

6. Je u n e s s e in a lt é r a b l e (la) e t l a vie et e r n e l l e,

translated by William Ritter, Preface by Arsène Alexandre,

50pp., n u M b e r 6 o F 10 C o p i e s o n D o u b l e-F o l D v e l l u M, from

an edition limited to 250 printed by Mouton & Cie. of The

Hague, 19 etched illustrations by M.A.J.Bauer, 4 full-page,

48 etched borders by G.W.Dijsselhof, light foxing to pp.29-

30, original vellum with wood-engraved title in gilt on upper

cover, t.e.g., others uncut, decorative lithographed endpapers

by Dijsselhof, glacine wrapper, preserved in modern cloth

slip-case, 4to, 240 x 180mm., Amsterdam, Scheltema &

Holkema, 1897. £2800 – £3200

* * * Bauer (1867-1932) was a popular Orientalist painter,

Dijsselhof (1866-1924) trained in the studio of P.J.H.Cuypers,

cut a number of typefaces and developed an airy floral

decoration expressive of international Art Nouveau.

Extremely rare, even on paper, as the edition was never fully

completed.

Lot 8

Lot 7

7. Van Nouhuys (W.G.) eg i D i u s e n D e vr e e M D e l i n g, 50pp.,

one of reputedly 200 copies, printed on laid paper, portrait

and 2 heliogravure plates by Jan Toorop, occasional very

light spotting, original pictorial wrappers by Toorop, uncut,

very slightly rubbed, preserved in modern cloth folder and

slip-case, 4to, 280 x 200mm., Haarlem, Erven F.Bohn,

1899. £300 – £400

* * * Jan Toorop, Dutch-Chinese born in the former Dutch

East Indies, carried the banner for Symbolist painting in late

nineteenth century Holland along with Thorn Prikker and

R.N.Roland Holst. Much as the heliogravures reflect his

delicate style, it is the pictorial cover that typifies the best of

Dutch Art Nouveau.

8. ho o g l i e D va n sa l o M o (he t), 36pp., number 4 of an

unspecified number and signed by the artists, printed on heavy

laid paper by Versluys & Scherjon of Utrecht, text printed in

olive green, title-vignette, illustrations and decorations by

B.A. van der Leck and P.J.C.Klaarhamer printed in sepia,

4 full- and 16 half-page, original grey cloth with woodengraved

lettering and decorations by Klaarhamer in black

(most copies were left unbound), t.e.g., others uncut, spine

slightly browned, preserved in modern cloth drop-back box,

folio, 380 x 280mm., Amsterdam, W.Versluys, 1905.

£400 – £500

* * * There is an almost gothic severity in this rendering of a

sensual tale; text and illustrations are integrated architecturally

as though they were part of a building frieze. A fine example

of the first, “decorative” period of book renewal, typography

has been avoided here in favour of hand-engraved text, and

the nineteenth century is still triumphant. A decade after this

publication Bart van der Leck would embark upon his road

to fame as co-founder, with Piet Mondriaan, of the De Stijl

movement.

The library of Jan van der Marck

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BLOOMSBURY AUCTIONS

Eragny Press

Lot 9

9. Bacon (Francis) oF gar D e n s, one of 226 copies on

Arnold’s handmade paper, printed in red, green and black

in Vale type, wood-engraved frontispiece, border and

initials designed by Lucien Pissarro and engraved by Esther

Pissarro, free endpapers lightly browned, b o o k p l at e s o F

wi l l i a M a.py e a n D J.r.ab b e y, a n D p e n C i l s i g n at u r e o F

le o n a r D bas k i n on front free endpaper (and his initials at

rear), original patterned-paper boards, uncut, rubbed, spine

browned, upper outer corner bumped, preserved in grey

morocco-backed cloth drop-back box, spine a little faded,

8vo, 170 x 95mm., [Eragny Press], Hacon & Ricketts,

1902. £300 – £400

* * * Baskin was possibly motivated to buy this at the 1969

auction of the Abbey library as he had published his own

Gehenna Press version of the same text in 1959 (see lot

214).

Lot 11

Lot 10

10. Moore (T.Sturge) a br i e F aC C o u n t o F t h e origin o F

t h e er a g n y pr e s s & A Note on the Relation of the Printed

Book as a Work of Art to Life...A Bibliographical List of the

Eragny Books printed in the Vale type..., one of 235 copies

on Arches handmade paper, printed in Brook type, woodengraved

illustrations, 4pp. order form bound in a beginning,

free endpapers browned, original floral patterned-paper

boards, uncut, spine very slightly rubbed, preserved in grey

morocco-backed cloth drop-back box, 8vo, 200 x 130mm.,

Eragny Press, 1903. £400 – £600

* * * The first use of the ‘Brook’ type designed by Lucien

Pissarro. The book is dedicated to Charles Ricketts.

11. Nerval (Gerard de) histoire D e l a re i n e D u Mat i n &

D e so l i M a n pr i n C e D e s ge n i e s, one of 130 copies on Arches

handmade paper for La Société des Cent Bibliophiles, t h i s

n u M b e r 95 F o r M.lé o n tu a l, printed in Brook type, title in

gold, grey and black, text in red and black, wood-engraved

title-vignette, border, illustrations and initials designed by

Lucien Pissarro and engraved by Esther & Lucien Pissarro,

initials printed in gold and colours, some light offsetting,

bound in modern grey/green calf with the original giltstamped

lambskin binding inlaid into covers, by the Praxis

Bindery, spine titled in gilt, t.e.g., others uncut, modern cloth

drop-back box, calf label, 8vo, 220 x 140mm., Eragny Press,

1909. £2000 – £3000

Lot 12


Doves Press

12. [Cobden-Sanderson (T.J.)] th e iD e a l bo o k o r bo o k

be a u t i F u l: A Tract on Calligraphy, Printing and Illustration

& on the Book Beautiful as a whole, one of 300 copies,

p r e s e n tat i o n C o p y F r o M philip ho F e r to Jo h n spa r r o w with

both their bookplates on front pastedown, original limp

vellum by the Doves Bindery, spine titled in gilt, uncut,

modern cloth slip-case, 4to, 230 x 160mm., Doves Press,

1900. £300 – £400

13. Mackail (J.W.) wi l l i a M Mo r r i s: an aD D r e s s

D e l i v e r e D...b e F o r e t h e ha M M e r s M i t h so C i a l i s t so C i e t y,

one of 300 copies, printed in red and black, original limp

vellum by the Doves Bindery, spine titled in gilt, uncut, 4to,

235 x 165mm., Doves Press, modern cloth slip-case, 1901.

£100 – £150

Lot 14

14. Browning (Robert) Me n & wo M e n , 2 vol., one of 250

copies, printed in red and black, initials supplied by hand

in blue and green by Edward Johnston and signed by him

in red ink at end of each volume, original limp vellum by

the together in modern cloth slip-case, 4to, 235 x 170mm.,

Doves Press, 1908. £750 – £1000

* * * The importance of Edward Johnston to calligraphy

cannot be overstated. In these volumes his flourishes soften

the severity of Cobden-Sanderson’s typography to make

Men & Women one of the finest Doves Press publications.

Johnston taught calligraphy, from 1899 to 1912, at the

London County Council Central School of Arts and Crafts

and, from 1901, at the Royal College of Arts. Eric Gill,

Graily Hewitt and Anna Simons were his pupils, as was the

Dutch typographer Jan van Krimpen.

Ashendene Press

Lot 15

15. Horatius Flaccus (Quintus) Ca r M i n a al C a i C a;

Ca r M i n a sa p p h i C a, together 2 vol., each one of 150 copies

on Japan vellum, printed in red and black in Subiaco type,

initials by hand by Graily Hewitt, the first in gold, the rest in

red or blue, the first a p r e s e n tat i o n C o p y F r o M C.h.st.Jo h n

ho r n b y i n s C r i b e D “to philip we b b F r o M t h e pr i n t e r, no v.

1903” on front free endpaper, and with further inscriptions

in other hands “given by P.W.’s executor E[mery] W[alker]

to Walter Knight Shirley, Earl Ferrers Feb.22.1916” & “and

by him to Charles C.Winmill January 1937”, the second with

leather book-label of Cortlandt F.Bishop, two extremely fine

copies, both original limp vellum, spines titled in gilt, the

second with yapp edges, together in modern cloth drop back

box, 8vo, 183 x 126mm., Ashendene Press, 1903.

£1000 – £1500

* * * Philip Webb (1831-1915), architect and business partner

of William Morris, for whom he designed Red House,

Bexleyheath.

The library of Jan van der Marck

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16. More (Sir Thomas, Saint) a Fr u t e F u l a n D pl e a s a u n t

wo r k e o F t h e be s t e st at e o F a pu b l i q u e we a l e, a n D o F t h e

ne w e yl e C a l l e D uto p i a, one of 100 copies on handmade

Batchelor paper, printed in red and black in Subiaco type,

with initials in red designed by Eric Gill, bound in black

goatskin, b y J.Fr a n k l i n Mo w e r y , ruled in blind with crisscrossing

lines of perspective across both boards and spine,

letters of title inlaid in crimson goatskin at head of upper

board, crimson goatskin label at head of spine, black suede

doublures and flyleaves, signed at foot of rear doublure “JFM

94”, top edge graphite, others uncut, preserved in board

slip-case (very slightly rubbed at edges), 4to, 280 x 196mm.,

Ashendene Press, 1906. £2000 – £3000

* * * The first book from the press with marginal notes printed

in red, reflected in the colours of the binding.

ex h i b i t e D: The Art of Contemporary Bookbinding,

Bibliotheca Wittockiana, Brussels; Koninklijke Bibliotheek,

The Hague; Bibliothèque historique de la ville de Paris,

1997, p.135, repr.

BLOOMSBURY AUCTIONS

Lot 16

Lot 17

a 17. Lucretius Carus (Titus) De r e r u M n at u r a l i b r i s e x,

one of 80 copies on handmade Batchelor paper, printed in

red and black in Subiaco type, 6 initials by hand by Graily

Hewitt, the first in gold, the rest in blue, bound in midnight

blue goatskin, b y iv o r ro b i n s o n, tooled in gilt with abstract

shapes across both boards, spine and onto doublures, titled in

gilt at foot of spine, black calf doublures, dun suede flyleaves

and blue endpapers, g.e., signed at foot of rear doublure “IR

90”, midnight blue goatskin-backed brown cloth chemise,

spine titled in gilt and slightly faded, with mounted bookplate

of John Yeatman Greig and beautifully-written A.L.s. to

him from the Birmingham bookseller William Downing

concerning the book loose in brown cloth portfolio, together

in brown cloth slip-case, 4to, 280 x 192mm., Ashendene

Press, 1913. £2500 – £3500

* * * “The finest of the pre-war Ashendenes”. Colin Franklin

Ivor Robinson arranged for Mr.van der Marck to acquire this

book from Colin Franklin as he was particularly keen to bind

this major Ashendene. The design suggests free-floating

nuclei, invading even the book’s inside, and scattered about

without symmetry or apparent order. The tooling, in two

thicknesses of gold leaf, is taken across the spine and around

the edges of the boards to create, in the binder’s words, “echo

effects”. Upon delivery he commented, “ I feel that this is as

close as I have ever got to the Ashendene spirit.” He further

explained that his nuclei derived from pebbles picked up on

Aldeburgh beach in Suffolk.

ex h i b i t e D: The Art of the Contemporary Bookbinding,

Bibliotheca Wittockiana, Brussels; Koninklijke Bibliotheek,

The Hague; Bibliothèque Historique de la Ville de Paris,

1997, p.119, repr.


De Zilverdistel

From its founding in 1910, it took six years and eleven

publications before the Dutch equivalent of the rarified

craft pioneered by William Morris in England, and so

successfully plied by those he inspired, reached maturity

and fully deserved the private press book label. Its three

founders were unfamiliar with printing on a handpress nor

did they aspire to operate one. Hence they entrusted their

poetry to Joh. Enschedé & Zonen, the venerable Haarlem

firm noted for its collection of historic typefaces. It is not

surprising, therefore, that the first four Zilverdistels, printed

on the company’s handpress, featured the fifteenth century

founts of Fleischmann and Hendrik Claesz.

A breath of fresh air arrived in 1913, when two of the founders

lost interest and allowed their colleague, P.N. van Eyck, to

carry on with the knowledgeable participation of a bibliophile

who worked for the postal services’ legal department. Jean-

François van Royen convinced van Eyck to try another

printer for the fifth Zilverdistel, Charles Baudelaire’s Les

Fleurs du Mal, one prepared to invest in S.H. de Roos’ brand

new typeface ‘Médieval Hollandais’. Van Royen showed his

colleague examples of Kelmscott and Doves publications

and that poet’s own next book successfully employed the

newly designed typeface. One month before war broke out

van Royen and his wife travelled to England where they were

entertained by St.John Hornby, Esther & Lucien Pissarro

and T.J.Cobden-Sanderson. The Dutchman gave his hosts

copies of the two latest Zilverdistels in which he had had a

hand, Lanseloet van Denemerken and Verlaine’s Romances

sans Paroles, both of which drew favourable comments.

Van Royen came back full of resolve and commissioned two

dedicated typefaces, the ‘Zilvertype’ from S.H. de Roos, in

principle to be used for modern texts, and the ‘Disteltype’

from Lucien Pissarro, suitable for older texts. All this

cost money so he lectured about the art of the book, took

subscriptions and recruited his friends. A club of fifty became

the mainstay of what was now his press. A financing device

was issuing a limited number of copies on vellum with or

without hand-flourishes, that would command a multiple of

the price of regular copies.

Lot 18

18. la n s e l o e t va n De n e M e r k e n, 48pp., o n e o F 100 C o p i e s

on Batchelor handmade paper, printed in red and black in

type by Peter Schoeffer von Gernsheim and printed by Joh.

Enschedé & Zonen, initial in red by van Royen, original

limp vellum with printer’s device in gilt on upper cover,

spine titled in gilt, uncut, modern cloth slip-case, 8vo, 190

x 130mm., The Hague, De Zilverdistel, 1913.

£250 – £350

* * * An incunable of Dutch theatrical literature going back to

the fourteenth century.

The first use of the Zilverdistel printer’s device designed by

the architect K.P.C. de Bazel.

19. Verlaine (Paul) ro M a n C e s s a n s pa r o l e s, 48pp.,

number 77 of 130 copies on Japan vellum, printed in red,

blue and black in type by Peter Schoeffer von Gernsheim

and printed by Joh.Enschedé & Zonen, modern limp vellum

with printer’s device in gilt on upper cover, spine titled in

gilt, 8vo, 190 x 140mm., The Hague, De Zilverdistel, 1913.

£250 – £350

Lot 20

20. Hardenberg (Friedrich von), “Novalis”. Die

ge D i C h t e..., one of 200 copies on Batchelor handmade

paper, printed in red, blue and black in type by Peter

Schoeffer von Gernsheim and printed by Joh.Enschedé &

Zonen, bookplates of U[bbo] P[roost] and F.M.Cohen, the

second wood-engraved, original limp vellum with printer’s

device in gilt on upper cover, spine titled in gilt, uncut, 8vo,

190 x 140mm., The Hague, De Zilverdistel, 1915.

£150 – £200

The library of Jan van der Marck

9


10

BLOOMSBURY AUCTIONS

Lot 21

21. Van Royen (Jean-François) and P.N. van Eyck. ov e r

bo e k k u n s t e n D e zi lv e r D i s t e l, 44pp., o n e o F 125 C o p i e s

(a C t u a l ly 70) on Batchelor handmade paper, printed in red,

blue and black in Zilvertype by van Royen, initial in red and

printer’s device designed by S.H. de Roos, light spotting to

a few leaves, original limp vellum with printer’s device in

gilt on upper cover, spine titled in gilt, uncut, modern cloth

slip-case, 8vo, 190 x 140mm., The Hague, De Zilverdistel,

1916. £1200 – £1500

* * * The ‘apologia’ for the art of the book and the aspirations

of De Zilverdistel. The introduction of de Roos’ freshly

created Zilvertype and printer’s mark sets it apart from all

previous titles. The length to which van Royen had gone to

control every stage of the production process resulted in an

unequalled typographic jewel, the best book of the press to

date.

Over Boekkunst argues that it is the unity of the spiritual and

the material, content and form, that raises the book to the

level of art. The author acknowledges that its costliness puts

it beyond the reach of a larger public but seeks comfort in

the fact that the same applies to English private press books

notwithstanding their publishers’ professed Socialism.

De Zilverdistel proposed old and new, domestic and foreign

literature of uncontested quality. The means by which the

press was to distinguish itself was that of pure typography.

A well-designed fount and a properly spaced block of text

obviated graphic embellishment. By commissioning its own

founts the press established its identity and uniqueness. The

author places great importance on the proper distribution

of type on a page and margins improving readability. He

compares pauses and interruptions with rhythm and timing

in music. Superior handmade paper is an imperative and van

Royen regrets the limitations, at that time, of Dutch paper

mills that forced him to settle for Batchelor paper from

England.

Lot 22

22. Leopold (J.H.) Ch e o p s, 16pp., First e D i t i o n, number

28 of 70 copies on Batchelor handmade paper (50 for De

Vereeniging der Vyftig & xx for De Zilverdistel), printed in

red, blue and black in Zilvertype by van Royen, opening

page probably designed by de Roos and initials by van

Royen, lightly browned and spotted (washed), original

limp vellum with printer’s device in gilt on upper cover,

spine titled in gilt, uncut, modern cloth slip-case, 4to, 240

x 170mm., The Hague, De Zilverdistel, 1916.

£1000 – £1500

* * * Along with Oostersch (see lot 39), Cheops rates among

the most desirable of van Royen’s publications.

Lot 23

23. Shelley (Percy Bysshe) pr o M e t h e u s un b o u n D, one of

125 copies on handmade paper, printed in red and black in

Zilvertype, title designed by de Roos, light spotting to a few

leaves, original limp vellum with printer’s device in gilt on

upper cover, spine titled in gilt, uncut, modern cloth slipcase,

4to, 240 x 170mm., The Hague, De Zilverdistel, 1917.

£300 – £500

* * * The colophon informs the reader that printing of the

book took from May 1916 until November 1917, “during the

third and fourth year of the war in which [the Dutch] shared

[the Allies’] suffering and hope of deliverance”.


Lot 24

24. ee n bo e C x k e n g e M a k e t va n su s t e n be rt k e n die.lvii.

iaren besloten heeft gheseten tot Utrecht in dye buerkercke,

34pp., number xx of 70 copies on Dutch handmade paper

(50 for De Vereeniging der Vyftig & xx for De Zilverdistel),

printed in red and black in Disteltype, initials in red or blue

by de Roos, p r e s e n tat i o n C o p y to Ja n to o r o p inscribed

on front free endpaper, original limp vellum with printer’s

device in gilt on upper cover, spine titled in gilt, uncut,

modern cloth slip-case, 8vo, 170 x 120mm., The Hague, De

Zilverdistel, 1918. £800 – £1200

* * * The first use of Lucien Pissarro’s Disteltype and printer’s

mark.

iM p o rta n t a s s o C i at i o n C o p y. As a Symbolist painter and

illustrator (see lot 7) Toorop’s reputation reached beyond the

Netherlands and he was an early inspiration for the aesthete

van Royen.

25. Van Looy (Jac.) ni e u w J a a r s D a g, pp.3-104, one of 200

copies on handmade Van Gelder paper, printed in Médieval

Hollandais type by Mouton & Co., initials in red designed

by de Roos, light spotting to one or two leaves, modern

vellum with initials ‘JB’ in gilt on upper cover, spine titled

in gilt, t.e.g., others uncut, modern cloth slip-case, 4to, 245

x 190mm., The Hague, De Zilverdistel, 1919.

£100 – £150

* * * First publication, of only two, for Vereeniging Joan

Blaeu.

Jan van Krimpen

If S.H. de Roos and J.F. van Royen dominated the world of

fine print in Holland during the century’s second decade,

new approaches and attitudes towards typography made

themselves known as early as 1920. From 1917 to 1927

Jan van Krimpen and Jan Greshoff edited a series of books

devoted to modern Dutch literature meant to be welldesigned

and affordable. One was a calligrapher, the other

a poet and journalist, and they were married to two sisters.

Van Krimpen, in charge of the series’ typographic design,

rejected the private press movement as fussy and elitist and

substituted his own vision of sobriety and elegance. After the

fifth publication the collective title Palladium made its entry

and there would be 21 more titles. All were set in Caslon

type except Enkele Gedichten (see lot below) but printers

varied. Distribution was in the hands of Hijman, Stenfert

Kroese & van der Zande, Arnhem.

Lot 26

26. Palladium.- Van Looy (Jac.) De ar. ee n be r iJ M D

ve r h a a l, 26pp., 252 x 173mm., 1920 § Jolles (André)

Idylle, 30pp., 258 x 183mm., 1924 § Weremeus Buning

(J.W.F.) Enkele Gedichten, 24pp.,258 x 183mm., 1924 § van

de Woestijne (Karel) Het Zatte Hart, 32pp., 258 x 183mm.,

1926, one of 300, 150, 150 & 160 copies respectively printed

on Dutch handmade paper (the last by Joh. Enschedé &

Zonen), printed in red and black in Caslon type (except the

third in Lutetia) with titles, headings and/or initials by Jan

van Krimpen, bound in uniform dark turquoise morocco, b y

Ch a r l e s l e sa M b l a n x, covers ruled in gilt forming panel,

spines gilt with five raised bands, t.e.g., signed at foot of rear

turn-in, original printed wrappers bound in (the last three

with Palladium device in red), spines a little darkened, 4to,

Arnhem, Palladium (4). £750 – £1000

* * * Palladium 8, 19, 20 & 25.

The bindings were commissioned by the Dutch bibliophile

and collector M.B.B. Nijkerk.

The library of Jan van der Marck

11


12

27. -. Van de Woestijne (Karel) la e t h e M s e br i e v e n o v e r

D e le n t e, 68pp., 183 x 132mm., 1921 § van Schendel

(Arthur) Safija, 52pp., 183 x 132mm., 1922 § Roland Holst

(R.N.) Overpeinzingen van een bramenzoeker, 126pp., 183

x 132mm., 1923 § van Dijk (C.) De boekenreeks Palladium,

20pp., n u M b e r 10 o F 30 C o p i e s, colour frontispiece, original

burgundy wrappers, 288 x 192mm., Oosterhesseln, De

Klencke Pers, 1995, all but the last one of 200, 200 and 150

copies respectively printed on Dutch handmade paper, all

printed in red and black in Caslon type with titles, headings

and/or initials by Jan van Krimpen, the first inscribed by van

Krimpen with his Latin initials “I.C.” on front free endpaper,

the first three original printed wrappers with Palladium

device in red, uncut, spines a little faded, the first slightly

frayed at edges, preserved in modern cloth box, 8vo & 4to,

Arnhem, Palladium (4). £150 – £200

* * * Palladium 11, 12 & 17.

In 1923 van Krimpen had met Dr. Joh. Enschedé who

suggested he design a new type for his firm. The prospect

that it would be used at the 1925 International Exhibition

of Modern Decorative and Industrial Arts in Paris lent it the

name ‘Lutetia’. Van Krimpen was awarded the Grand Prix

and subsequently hired by the two-hundred year old Haarlem

printing house to help regain its one-time reputation for

typographic excellence.

28. pr o e F va n ne D e r D u i t s C h e le t t e r s e n go t h i s C h e

in i t i a l e n... Specimen of Dutch Black-Letters and Gothic

Initials of the XVth Century, 52pp., corrigenda slip tipped in

at end, book-label of the Lyons printer Marius Audin, original

marbled boards, paper label on upper cover, slightly rubbed,

280 x 190mm., 1925 § Peter Schoeffer von Gernsheim 1420-

1502, 18pp. modern cloth, paper label on upper cover, 230

x 145mm., 1926, both printed on Pannekoek paper in red

and black, text in Dutch, French, German and English,

uncut, 4to & 8vo, Haarlem, Collection Typographique Joh.

Enschedé & Zonen (2). £150 – £200

29. Roland Holst (Adrian) ex te n e b r i s Mu n D i: ge D i C h t e n,

64pp, one of 150 copies on Antique Van Gelder paper,

printed in red and black in Peter Schoeffer von Gernsheim

type, faint tape marks to rear free endpaper, modern blue

cloth with printer’s device in gilt on upper cover, uncut, 8vo,

220 x 150mm., Haarlem, Joh, Enschedé & Zonen, 1926.

£80 – £120

* * * The first of a series of books devoted to Dutch poets van

Krimpen designed for his employer over the next eight years,

demonstrating Enschedés entry into a field of publishing that

popularized its type and served to acquire Dutch and foreign

clients.

BLOOMSBURY AUCTIONS

Charles Nypels

Charles Nypels had the good fortune to be apprenticed to

the Lettergieterij Amsterdam where S.H. de Roos took an

interest in him. Aged 22 he joined the family firm resolved to

turn it into a fine printing house. He made his debut as a book

designer in 1920 with a small bundle of poems by a friend

and illustrated by another. He proved, with this handsome

publication, that a fine book is a properly balance trinity of

authorial, graphic and typographic talents.

Lot 30

30. Lousbergh (F.J.H.) ve r z e n e n Fr a g M e n t e n, n u M b e r 3

o F 40 C o p i e s, t h i s F o r t h e p r i n t e r, printed in blue and black

in Médiéval Hollandais on handmade Van Gelder paper,

wood-engraved illustration on title by Henri Jonas, original

stiff cream wrappers, uncut, lightly mottled, split to upper

joint, modern cloth folder and slip-case, 4to, 220 x 185mm.,

Maastricht, Leiter-Nypels, 1920. £500 – £700

Lot 31

31. Nerval (Gérard de) po é s i e s, 34pp., n u M b e r 6 o F 90

C o p i e s on handmade paper, this one of 10 for the printer,

printed in red and black in Cochin’s Gravure, bound in

moulded black revorim, b y Je a n D e go n e t (série 5 ‘plaque

d’égout’), upper cover with grey calf circular inlay stamped

in red with ‘Jean de Gonet Artefacts 1989’, brown calf spine

with exposed threads and grey linen bands, uncut, signed

and numbered 51/200 at foot of front pastedown, original

cream wrappers bound in, 4to, 260 x 200mm., Maastricht,

Leiter-Nypels, 1920. £400 – £600


Lot 32

32. Kemp (Mathias) De ze v e n br o e D e r s, 36pp., number

45 of 325 copies on Van Gelder paper, printed in red and

black in Médiéval Hollandais with initials in red by S.H.

de Roos, wood-engraved title, 9 plates and 2 tail-pieces by

Henri Jonas, some light spotting, wood-engraved bookplate

of C.J.Asselbergs (by W.J.Rozendaal) on front free endpaper,

bound in moulded black revorim, b y Je a n D e go n e t (série 3

‘briques’), beige calf spine with exposed threads and brown

linen bands, uncut, signed in binding, original printed

blue wrappers bound in (a little browned at edges), 320 x

235mm., 1921 § de Decker (Jeremias) Goede Vrydag, 42pp.,

n u M b e r 24 o F 50 C o p i e s o n D e Ch a r r o h a n D M a D e pa p e r,

from an edition limited to 220, printed in red and black

in Erasmus Mediaeval, wood-engraved portrait by Jonas

after Rembrandt, bookplate of H.Boekenoogen, original

brown printed wrappers, uncut, 260 x 200mm., 1923, 4to,

Maastricht, Leiter-Nypels (2). £300 – £400

Lot 33

33. pr o p h e t i e D e Jo e l (la), 20pp., number 178 of 200 copies

on Hollande Haesbeek de luxe paper, printed in black and

colours in Plantin, woodcut frontispiece and initials by Henri

Jonas printed in colours, bound in moulded black revorim,

b y Je a n D e go n e t (série 4 ‘fichoirs’), covers with horizontal

bands of clothes peg shapes, double band with background

in blue on upper cover, beige calf spine with exposed threads

and red linen bands, signed and numbered 41/200 at foot of

front pastedown, original printed blue wrappers bound in

(slightly browned at edges), very slight scuffing to spine, 4to,

260 x 200mm., Maastricht, Leiter-Nypels, 1923.

£350 – £450

* * * A printing tour de force, this is Charles Nypels’ most

attractive publication of the 1920-23 period.

Alexandre Stols

The renaissance of fine printing in the Netherlands in the

second and third decades of the 20th century is generally

credited to S.H. de Roos, J.F. van Royen and Jan van

Krimpen, based in Amsterdam or The Hague, and to two

southerners, sons of printers in Maastricht, Charles Nypels

and Alexandre Stols. Despite being a friend and admirer of

Nypels Stols opted for method and consistency. His debut

garnered praise when it appeared in January 1922 as first in

a series which he named “Trajectum ad Mosam” (the Latin

name for Maastricht). In the span of a mere nine years 29

more titles were to follow.

Lot 34

34. Trajectum ad Mosam.- Van den Vondel (Joost)

ae n l e i D i n g e t e r ne D e r D u i t s C h e Di C h t k u n s t e, 14pp., n u M b e r

76 o F 90 C o p i e s on De Haesbeek handmade paper, printed

in Médiéval Hollandais, wood-engraved title-vignette by

Henri Jonas printed in blue, bookplate of W.J.R.Dreesmann,

bound in modern vellum, spine titled in gilt, original printed

wrappers bound in (browned), uncut, 12mo, 165 x 125mm.,

Maastricht, 1922. £100 – £150

* * * Trajectum ad Mosam 1.

During 1923 and 1924 Stols devoted himself to the

publication of Dutch authors and some foreign writers in

translation. Through Palladium editor Jan Greshoff he met

Jan van Krimpen who provided him with a printer’s mark

for the Trajectum ad Mosam covers. His contact with

Nypels waned as van Krimpen imparted on Stols his sense

of measure and austerity.

The library of Jan van der Marck

13


14

BLOOMSBURY AUCTIONS

Lot 35

35. -. Labé (Lovïze) De so n n e t t e n, with translation by

P.C.Boutens, 54pp., one of 215 copies, this letter b of 13

sent to reviewers, printed in Erasmus Medieval, portrait

frontispiece, prospectus loosely inserted, 230 x 145mm.,

1924 § van Nijlen. De Lokstem en andere gedichten, 42pp.,

one of 180 copies, printed in Caslon, 195 x 130mm., 1925

§ van Deyssel (Lodewijk) Kleinigheden, 50pp., one of 185

copies, printed in Garamond, 195 x 130mm., 1926 § van de

Woestijne (Karel) God aan Zee, 82pp., one of 285 copies, this

number 35 for J.M.W.Hioolen and signed by the publisher,

printed in Garamond, 1926, all printed in red and black,

all but the second with titles and/or initials in red or blue

and red by Alphonse Stols, original printed wrappers, uncut,

together in modern cloth box, 8vo, Maastricht, Trajectum ad

Mosam (4). £150 – £200

* * * Trajectum ad Mosam 7,12, 15 & 16.

Lot 36

36. -. Du Bellay (Ioachim) la De F F e n C e & il l u s t r at i o n

D e l a la n g u e Fr a n C o i s e, 86pp., n u M b e r xiv o F xv C o p i e s

o n Ja p o n w i t h a t r i p l e s u i t e o F t h e p o rt r a i t o n D i F F e r e n t

pa p e r s (série b), from an edition limited to 380, printed in

red, blue and black in Erasmus Mediaeval, wood-engraved

portrait by J.Franken Pzn, title-vignette and half-title by

Jan van Krimpen, initials by Alphonse Stols, additional

suite bound in at end, bound in moulded black revorim, b y

Je a n D e go n e t (série 5 ‘plaque d’égout’), upper cover with

part of red calf circular inlay stamped in black with ‘Jean

de Gonet Artefacts’, edged in blue calf at fore-edge, black

calf spine with exposed threads and red linen bands, signed

and numbered 56/200 at foot of front pastedown, original

cream wrappers bound in (a little browned at edges), 8vo,

195 x 130mm., Maastricht, Trajectum ad Mosam, to be

sold at Claude Aveline bookshop of Paris, 1925.

£300 – £400

* * * Trajectum ad Mosam 10.

Won the Grand Prix (along with van Krimpen’s ‘Lutetia’) at

the 1925 International Exhibtion of Modern Decorative and

Industrial Arts in Paris, and later the “Fifty Best Books of

the Year” award in Stols’ own country.

Lot 37

37. -. Beyle (Marie Henri), “Stendhal”. D’u n no u v e a u

Co M p l o t C o n t r e l e s in D u s t r i e l s, 28pp., n u M b e r e.C.15 o F

30 C o p i e s o n va n ge l D e r l a i D a n t i q u e pa p e r w i t h a D o u b l e

s u i t e o F t h e p o rt r a i t o n D i F F e r e n t pa p e r s reserved for

Edouard Champion for the Société des Médecins Bibliophiles

and the Bibliophiles du Palais, from an edition limited

to 385, printed in red and black in Erasmus Mediaeval,

wood-engraved portrait and decorations by J.Franken Pzn,

additional suite bound in at end, bound in moulded black

revorim, b y Je a n D e go n e t (série 5 ‘plaque d’égout’),

pale grey calf spine with exposed threads and brown linen

bands, original cream wrappers bound in (browned), 8vo,

195 x 130mm., Maastricht, Trajectum ad Mosam, to be

sold at Claude Aveline bookshop of Paris, 1925.

£150 – £200

* * * Trajectum ad Mosam 13.


38. Boutens (P.C.) ou D-pe r z i s C h e kwat r i J n e n, 112pp.,

n u M b e r 55 o F 65 C o p i e s on Hollande Pannekoek paper,

from an edition limited to 125, printed in red and black

in Garamond, wood-engraved portrait by J.Franken Pzn,

modern half morocco over marbled boards, [by B.Graafland],

t.e.g., others uncut, small library stamp of Johan B.W.Polak

on rear pastedown, original printed wrappers bound in, 230

x 150mm., The Hague, 1926 § van de Woestijne (Karel) Het

Menschelijk Brood, 20pp., o n e o F 100 C o p i e s on Hollande

from an edition limited to 115 and signed by the author and

publisher, ‘To the Happy Few’ No.12, printed in Garamond,

original printed wrappers, uncut, preserved in modern cloth

drop-back box, 175 x 145mm., Bussum, [for friends of the

author and publisher], 1926, 8vo, privately printed (2).

£200 – £300

J.F. van Royen and the Kunera Pers

J.F.van Royen, between 1913 and 1919, published 8 books

with the Zilverdistel imprint, five on his own handpress; P.N.

van Eyck was kept informed through correspondence. Van

Royen was anxious to start his own press under a different

name and he chose a legendary saint whose name adorned

the parish church of Rhenen. The Kunera Pers, conceived

in 1922, entered operation in 1925 with a printer’s device

featuring the saint by Lucien Pissarro.

Lot 39

39. oo s t e r s C h: ve r z e n n a a r pe r z i s C h e e n ar a b i s C h e

Di C h t e r s, 28pp., n u M b e r 21 o F 70 C o p i e s (50 for De

Vereeniging der Vyftig, this for J.P.Fokker) on Batchelor

handmade paper, printed in red, blue and black in

Disteltype, title and initials by J.F. van Royen, prospectus

loosely inserted at end, bound in limp vellum “prepared

from the skin of a female ass”, spine titled in gilt, uncut,

modern cloth slip-case, 240 x 170mm., The Hague, Kunera

Pers, 1925 w i t h Roland Holst (Adrian) Over den Dichter

Leopold, 72pp., one of 320 copies, printed in red, blue and

black, wood-engraved title-vignette by Henri Jonas, light

offsetting, contemporary morocco-backed marbled boards

by Jan Wansink, spine gilt, g.e., spine slightly rubbed, 195 x

122mm., Maastricht, Leiter-Nypels, 1926, 4to & 8vo (2).

£1500 – £2000

* * * A fine copy of the first and rarest of the Kunera Pers

publications. Van Royen had taken plenty of time to secure

typographic perfection for his debut.

Lot 40

40. Villon (François) oe u v r e s: le la i s, le te s ta M e n t e t

s e s ba l l a D e s, o n e o F 110 C o p i e s, printed in red, blue and

black in Disteltype, headings and initials by van Royen,

original limp vellum with ties, spine titled in gilt, uncut and

unopened, 8vo, 210 x 150mm., The Hague, Kunera Press,

1926. £300 – £400

* * * The second book from the press.

Lot 41

41. Péguy (Charles) la tapisserie D e no t r e Da M e , n u M b e r

78 o F 105 C o p i e s on Batchelor paper, printed in red, blue

and black in Disteltype, title, headings and initials by van

Royen, original vellum, gilt, uncut, upper cover very slightly

warped, modern cloth slip-case, 4to, 255 x 190mm., The

Hague, Kunera Pers, 1929. £400 – £600

* * * The fourth and most richly decorated Kunera title.

The library of Jan van der Marck

15


16

BLOOMSBURY AUCTIONS

Charles Nypels

Maastricht, home of both Nypels and Stols, barely considered

itself part of the Netherlands. Its natives spoke French and a

local dialect similar to that used across the German border.

In 1918 separatists wanted to secede and join Belgium.

It is not surprising, therefore, that despite their training

in the Protestant north, the two Maastricht printers were

francophiles eager to establish contacts in Paris. In 1924

Nypels entered into a fruitful relationship with René-Louis

Doyon and his Éditions de la Connaissance.

Lot 42

42. Ronsard (Pierre de) le s so n n e t s p o u r he l e n e, one

of 380 copies on vergé de Hollande Pannekoek paper,

printed in red, grey and black in Erasmus Mediaeval by

Leiter-Nypels, title decoration in gilt and initials by S.H. de

Roos, engraved armorial bookplate of J.Timmers by Herbert

Levigne on front free endpaper, modern brown morocco,

by Alain Lobstein, ruled in blind, spine titled in gilt, t.e.g.,

others uncut, cork endpapers, signed and dated 1990 at

foot of turn-ins, original wrappers bound in, spine very

slightly faded, board slip-case, 8vo, 240 x 160mm., Paris,

La Connaissance, 1924. £300 – £400

Lot 43

43. Du Bellay (Ioachim) la vi e i l l e Co u rt i s a n n e, pp.5-28,

o n e o F a F e w s p e C i a l ly-b o u n D C o p i e s from an edition limited

to 200, t h i s C o p y n u M b e r 1 F o r ren é-lo u i s Doy o n s i g n e D

a n D i n s C r i b e D b y t h e p r i n t e r in r e D C r ay o n o n C o l o p h o n,

printed in red and black in Médiéval Hollandais on laid

Van Gelder paper, wood-engraved portrait of the author by

W.J.Rozendaal, contemporary vellum, by J.West, cloth label

on spine, t.e.g., others uncut, marbled endpapers, original

printed wrappers bound in, 8vo, 230 x 155mm., Paris/

Maastricht, 1925. £200 – £300

Lot 44

44. Du Bellay (Ioachim) le s re g r e t s, one of 50 hors

commerce copies from an edition limited to 380, t h i s F o r

J.a.a.en g e l M a n s i g n e D a n D i n s C r i b e D b y t h e p r i n t e r,

printed in red, blue and black in Erasmus Mediaeval on vergé

Pannekoek paper, wood-engraved portrait of the author by

Robert Steiner, coat-of-arms on title in red, blue and silver

and initials by S.H. de Roos, modern half brown morocco

over cork boards, by Alain Lobstein, t.e.g., others uncut,

signed at foot of front pastedown, original printed wrappers

bound in, 8vo, 240 x 155mm., Paris, La Connaissance,

1925. £150 – £200

* * * Jan Engelman was the premier Catholic poet of the era

and co-founder of the group ‘De Gemeenschap’.

45. Montaigne (Michel Eyquem de) De l’aMitié [w i t h]

D e l a bo e t i e (es t i e n n e) vi n g t e t ne u F so n n e t s, pp.7-42,

number 380 of 380 copies on Van Gelder Ossekop paper,

printed in red, blue and black in Grotius, bookplate of Leo

Polak on front free endpaper, modern half brown morocco

over cork boards, by Alain Lobstein, t.e.g., others uncut,

signed at foot of front pastedown, original printed wrappers

bound in, spine very slightly rubbed and faded, 242 x

160mm., Paris, La Connaissance, 1926; and a copy of the

second text printed separately in an edition of 200, 8vo

£150 – £200

* * * The awkwardness of combining texts by two different

authors, one writing in prose, the other in poetry, must have

struck Nypels’ typographic sensibility, albeit after the book

was printed. Hence he re-used the type for the second text

but this time giving each sonnet its own page.


Lot 46

46. Desportes (Philip) lx ps e a u M e s D e Dav iD , number

291 of 430 copies on vergé Pannekoek paper, printed in

Erasmus Mediaeval, wood-engraved portrait of the author

and title-vignette by Raphael Drouart, initials by S.H. de

Roos, bound in brown morocco, by Alain Lobstein, both

covers inlaid with design of harp in gilt-stamped black

suede, t.e.g., others uncut, cloth slip-case, 240 x 160mm.,

Paris, La Connaissance, 1926; Chansons, one of 200 copies,

t h i s F o r C.J.vo s s i g n e D a n D i n s C r i b e D b y t h e p r i n t e r,

printed in Grotius on antique Van Gelder paper with musical

notation, modern half brown morocco over cork boards, by

Alain Lobstein, t.e.g., others uncut, signed at foot of front

pastedown, spine very slightly rubbed at head and foot,

160 x 240mm., [Paris], R.-L.Doyon & Charles Nypels,

1926, 8vo, both printed in red, blue and black, with original

printed wrappers bound in, 8vo & oblong 8vo (2).

£300 – £400

Lot 47

47. Lauweriks (J.L.M.) De ho u t s n e D e n va n k.p.C. D e

ba z e l, number 5 of 500 copies on Banzay paper from an

edition limited to 550, 8pp. text printed in red in black in

Erasmus Mediaeval and sewn, 58 woodcut plates loose

as issued with text in original decorated cloth folder with

ties, binding designed by George Rueter, light browning

to upper cover, joints a little rubbed at head and foot, 4to,

275 x 200m., Amsterdam, S.L. van Looy, 1925.

£200 – £300

* * * De Bazel (1869-1923) is known principally as an

architect but was also an influential interior designer.

Jan van Krimpen

Once Jan van Krimpen had proved his worth at Joh.

Enschedé en Zonen he drummed up business for his

employer at home and abroad. His relationship with Stols

became almost a parallel to that of de Roos with Nypels,

although in a more restrained style than Nypels’ romantic

and decorative direction. Between 1926 and 1929 Stols had

many of his books printed, not in Maastricht, but in Haarlem

where van Krimpen had total control.

Lot 48

48. Valéry (Paul) la Je u n e pa r q u e, 40pp., out-of-series

copy on Hollande teinté à la forme, t h i s C o p y i n s C r i b e D

“ex e M p l a i r e D e Jo h. en s C h e D é e n zo n e n” on colophon,

from an edition limited to 190, printed in red and black

in type engraved by Jacques-François Rosart in 1747,

designed by Jan van Krimpen and printed by Enschedé,

bound in moulded black revorim, b y Je a n D e go n e t (série

3 ‘briques’), covers edged in beige calf at fore-edges, beige

calf spine with exposed threads and grey linen bands, uncut,

signed in binding, original printed wrappers bound in (a

little browned), slight rubbing to calf on spine and edges,

4to, 320 x 260mm., Maastricht, A.A.M.Stols, 1926.

£300 – £400

* * * At this time Valéry wished to supplement his income

and further his reputation by publishing new and older

work in finely printed limited editions. In 1926 alone Stols

published ten of Valéry’s books, all of them distinguished

typographically.

The library of Jan van der Marck

17


18

BLOOMSBURY AUCTIONS

Lot 49

49. Rilke (Rainer Maria) le s ro s e s, 38pp., First e D i t i o n,

number 86 of 300 copies on Hollande Van Gelder paper,

from an edition limited to 330, printed in red and black in

J.M.Fleischmann’s 1739 roman type by Joh. Enschedé en

Zonen, title and initials by van Krimpen, prospectus loosely

inserted, original vellum-backed boards, uncut, spine a little

soiled, title on upper cover slightly worn, 4to, 215 x 170mm.,

Bussum, Halcyon Press, 1927. £100 – £150

* * * The first Halcyon Press publication.

Lot 50

50. Toulet (P.-J.) le s Cont r e r i M e s, n u M b e r 49 o F 25

C o p i e s o n v e r g é D e hol l a n D e van gelD e r a n t i q u e w i t h

a n a D D i t i o n a l s u i t e o F p r o o F s o F t h e e n g r av i n g s, from an

edition limited to 492, printed in red and black in Lutetia

by Joh.Enschedé en Zonen, wood-engraved portrait and 4

vignettes by Carlègle, additional suite loosely inserted at

end, original printed wrappers, uncut, preserved in modern

cloth folder and slip-case, 4to, 215 x 170mm., Brussels,

Éditions un Coup de Dés..., 1927. £150 – £200

Lot 51

51. su r u n air D e pa u l-Je a n to u l e t: Ch a n s o n s pa r Je a n-

Ma r C be r n a r D, Fr a n C i s éo n e t he n r i Ma rt i n e a u, 8pp.,

number 117 of 150 copies on vélin de cuve Pannekoek, from

an edition limited to 170, printed in red and black in Lutetia

by Joh.Enschedé en Zonen, title and initials by van Krimpen,

bound in half tan morocco, by Lobstein-Laurenchet, spine

gilt, t.e.g., others uncut, original wrappers with printed

label by van Krimpen bound in, 4to, 260 x 215mm., Brussels,

Éditions un Coup de Dés..., 1927. £100 – £150

Lot 52

52. [Sappho.] sapFo. oD e n e n Fr a g M e n t e n, translated

by P.C.Boutens, 38pp., one of 150 copies on Hollande

Pannekoek paper, printed in red and black in Lutetia by Joh.

Enschedé en Zonen, prospectus loosely inserted, bound in

moulded black revorim, b y Je a n D e go n e t (série 4 ‘fichoirs’),

covers with vertical bands of clothes peg shapes, blue-grey

calf spine with exposed threads and red linen bands, uncut,

original wrappers with printed label bound in, 8vo, 250

x 170mm., Maastricht, Halcyon Press, 1928.

£200 – £300

* * * Featuring W.J.Rozendaal’s new press device of a

kingfisher.


Lot 53

53. Edmonds (J.M., translator) sa p p h o re v o C ata, one of

350 copies, bound in mid-brown calf, [by Jon Buller], upper

cover inlaid with gilt scalloped title from original cloth

binding, spine gilt, 270 x 190mm., 1928; Some Greek Love-

Poems..., one of 450 copies, original cloth, gilt, spine faded,

290 x 215mm., 1929, both printed in Antigone and Lutetia

by Joh.Enschedé en Zonen on Batchelor handmade paper,

plates or illustrations by Vera Willoughby, those in the first

collotype, the second with pochoir-colouring, t.e.g., others

uncut, preserved in slip-cases, 4to, Peter Davies (2).

£150 – £200

* * * Printed in van Krimpen’s new Greek type ‘Antigone’.

Lot 54

54. Homer. bat r a C h o M y o M a C h i a, 20pp., n u M b e r xxvi

o F 125 C o p i e s on Hollande Pannekoek paper and printed by

Joh.Enschedé en Zonen, original crimson shagreen, by Louis

Malcorps, spine titled in gilt, t.e.g., spine a little darkened

and joints rubbed, board slip-case rubbed, tall 8vo, 285

x 190mm., Maastricht, Halcyon Press, 1929.

£120 – £180

Lot 55

55. Homer. six hy M n s... The English Translation by Percy

Bysshe Shelley facing the original Greek, edited by Paul

van de Woestijne, 24pp., l e t t e r b o F 6 C o p i e s o n v e l l u M,

from an edition limited to 481, printed in red and black in

Antigone (Greek) and Lutetia (English) by Joh.Enschedé en

Zonen, initials by van Krimpen, light foxing, contemporary

crimson morocco, by Louis Malcorps, spine titled in gilt,

t.e.g., others uncut, very slight rubbing to edges, board slipcase,

8vo, 250 160mm., Maastricht, Halcyon Press, 1929.

£600 – £800

Lot 56

56. ev e ry M a n: a Du t C h Mo r a l i t y pl ay o F t h e xvt h

Ce n t u ry..., edited by C.F.Tucker Brooke, 46pp., o n e o F

25 s p e C i a l ly-b o u n D C o p i e s from an edition limited to 325

on Van Gelder handmade paper, printed in red and black

in type cut by Henric Lettersnider in the 15th century by

Joh.Enschedé en Zonen, original russet morocco, [by Louis

Malcorps], spine titled in gilt, t.e.g., others uncut, spine a

little darkened, very slightly rubbed at edges, modern cloth

slip-case, 4to, 215 x 170mm., Maastricht, Halcyon Press,

1929. £150 – £200

The library of Jan van der Marck

19


20

BLOOMSBURY AUCTIONS

Lot 57

57. Villon (François) le s oe u v r e s, number 8 of 105 copies

on vélin de Hollande Pannekoek paper, from an edition

limited to 150, printed in red and black in 15th century gothic

type by Joh.Enschedé en Zonen, title, headings and initials

by van Krimpen, bookplate of J.E.M.Kramers, contemporary

vellum-backed marbled boards, uncut, original wrappers

with printed label bound in, rubbed at edges, modern cloth

slip-case, 4to, 230 x 185mm., Maastricht, Halcyon Press,

1929. £150 – £200

58. Milton (John) th e so n n e t s, one of 325 copies on

Dutch Pannekoek paper, printed in Christoffel Van Dyck’s

Italic 17th century type, original cloth, uncut, 255 x 175mm.,

Maastricht, Halcyon Press, 1929 § Boutens (P.C.) Bezonnen

Verzen, o n e o F 30 C o p i e s o n J a p o n n a C r é (15 for sale),

light foxing at beginning and end, bookplate of Driek van

Opstal, bound in crimson morocco, uncut, original printed

wrappers bound in, spine slightly rubbed and faded, 200 x

120mm., Haarlem, 1931 § Prins (Jan) Indische Gedichten,

n u M b e r 12 o F 20 C o p i e s on laid Van Gelder, from an edition

limited to 30, s i g n e D p r e s e n tat i o n C o p y F r o M t h e a u t h o r

to he n r i bo r e l inscribed on half-title, modern cloth, gilt,

uncut, 200 x 120mm., Haarlem, 1932 § Porter (Katherine

Anne) French Song-Book, one of 595 copies on Van Gelder

rag paper signed by the author, printed in Lutetia, musical

notation, original cloth-backed boards, uncut, dust-jacket,

275 x 190mm., Paris & New York, Harrison of Paris, [1933],

all printed by Joh.Enschedé en Zonen, 4to & 8vo (4).

£150 – £200

Lot 59

59. Constant (Benjamin) aD o l p h e, edited by Jean Jacob

and Arsène Soreil, number VII of 10 hors commerce copies,

from an edition limited to 160, all on vergé de Hollande

Pannekoek, printed in type designed by Didot l’Ainé by Joh.

Enschedé en Zonen, s i g n e D a n D i n s C r i b e D to an D r é su a r è s

b y Je a n Ja C o b (o n e o F t h e e D i t o r s) on front free endpaper

and with note by Suarès in red ink on colophon, bound in

moulded black revorim, b y Je a n D e go n e t (série 5 ‘plaque

d’égout’), upper cover with part of grey calf circular inlay

stamped in red with ‘Gonet Artefacts 1989’, purple calf

spine with exposed threads and brown linen bands, signed

and numbered 146/200 at foot of front pastedown, original

printed wrappers bound in, 8vo, 210 x 135mm., Liege,

Éditions du Balancier, 1933. £250 – £350

Charles Nypels

In 1927 Charles Nypels produced an average of 2 books a

month; also in that year he began printing for the Utrecht

writers’ group ‘De Gemeenschap’.

Lot 60

60. so n e t t e, 1929; Trilogie der Leidenschaft, 1927; Pandora:

ein Festspiel, 1929, together 3 works in 1 vol., each one of

120 copies on Ossekop Van Gelder paper, printed in red and

black in Grotius, initials by S.H. de Roos, the second with

bookplate of C.J.Asselbergs, bound together in moulded

black revorim, b y Je a n D e go n e t (série 4 ‘fichoirs’), covers

with vertical bands of clothes peg shapes, boards edged in

beige calf at fore-edges, beige calf spine with exposed threads

and grey linen bands, uncut, original printed wrappers with

gilt device on upper covers bound in, 8vo, 240 x 160mm.,

Maastricht, 1928. £300 – £400

Lot 61


61. Huygens (Christian) ‘t vo o r-ho u t e n D e ‘t ko s t e l i C k

Ma l, pp.5-52, one of 250 copies for J.Engelman on

Ossekop Van Gelder paper, printed in red, blue and black

in Grotius, initials by S.H. de Roos, modern half brown

morocco over cork boards, by Alain Lobstein, t.e.g., others

uncut, signed at foot of front pastedown, original printed

wrappers with device in gilt on upper cover bound in, 8vo,

240 x 160mm., Maastricht, 1926. £150 – £200

* * * The most perfectly designed book Nypels dedicated to

an historic Dutch author.

Lot 62

Lot 63

62. Rossetti (Dante Gabriel) so n n e t s a n D so n g s t o wa r D s

a w o r k to b e C a l l e D th e ho u s e o F liFe, out-of-series copy

from an edition limited to 200, t h i s C o p y F o r pr o F. h[e n r i] va n

D e ve l D e a n D w i t h a n a D D i t i o n a l p r o o F o F t h e p o rt r a i t o n

Ja p o n, printed on Ossekop Van Gelder paper in red, blue and

black in Grotius, wood-engraved portrait by Robert Steiner,

additional proof bound in at beginning, modern half brown

morocco over cork boards, by Alain Lobstein, t.e.g., others

uncut, signed at foot of front pastedown, original printed

wrappers with device in gilt on upper cover bound in, 8vo,

240 x 160mm., Maastricht, 1926. £200 – £300

* * * Henri van de Velde (1863-1957), the famous Belgian

architect and interior designer.

a63. Gautier (Théophile) éM a u x et CaMées, n u M b e r ii o F v

C o p i e s o n Ja p o n a n D i n s C r i b e D “iM p r iM é p o u r s.h. D e ro o s en

r e C o n n a i s s a n C e p o u r sa C o l l a b o r at i o n C.nypels no e l 1927”

on colophon, from an edition limited to 505, printed in red

and black in Erasmus Mediaeval, title monogram and initials

by de Roos, bound in red goatskin, b y iv o r ro b i n s o n, tooled

in gilt with abstract shape at an angle across upper cover,

spine and part of lower cover, spine titled in gilt at head, red

goatskin doublures, dark red suede flyleaves, g.e., signed and

dated “IR 90” at foot of rear doublure, black goatskin-backed

cloth chemise, spine very slightly faded, w i t h e a r ly p r o o F o F

title w i t h M o n o g r a M in r e D C r ay o n b y nypels and note by him

and Pc.s. from the binder loose in cloth portfolio, together in

cloth slip-case, 8vo, 196 x 124mm., Paris, La Connaissance,

1927. £3000 – £4000

* * * Comparing Nypels’ design for the title monogram with

that of de Roos makes clear the latter’s superior talent.

ex h i b i t e D: The Art of the Contemporary Bookbinding,

Bibliotheca Wittockiana, Brussels; Koninklijke Bibliotheek,

The Hague; Bibliothèque Historique de la Ville de Paris,

1997, p.120, repr.

The library of Jan van der Marck

21


22

BLOOMSBURY AUCTIONS

Lot 64

64. Montaigne (Michel Eyquem de) De Fu i r l e s vo l u p t e z

a u pr i s D e l a vie, 8pp., one of 150 copies, t h i s C o p y F o r

Dr. F.M.hu e b n e r a n D s i g n e D b y t h e p r i n t e r on colophon,

printed in Plantin, 240 x 160mm., Paris, R.-L.Doyon and

Maastricht, C.Nypels, 1927 § Maistre (X. de) Le Lépreux

de la Cité d’Aoste, pp.5-62, one of 500 copies, printed in

Erasmus Mediaeval, 196 x 124mm., Maastricht, Leiter-

Nypels, 1927, both printed in red and black on Van Gelder

paper, modern half brown morocco over cork boards, by

Alain Lobstein, t.e.g., signed at foot of front pastedown,

original printed wrappers with device in red on upper cover

bound in, 8vo (2). £250 – £350

Lot 65

65. Moréas (Jean) le s sta n C e s, one of 430 copies on

Hollande Van Gelder, t h i s C o p y F o r J.Ma a s, printed in

Grotius, wood-engraved title-vignette and 8 plates by

Bernard Essers, bookplate of J.Maas on front free endpaper,

240 x 160mm., Paris, La Connaissance, 1927; Le Pur

Concept; Le Ruffian; Nocturne, one of 150 copies on

Hollande Pannekoek, printed in Erasmus Mediaeval, woodengraved

portrait after Sierk Schreuder, 240 x 160mm., Paris

& Maastricht, 1927, both printed in red and black, modern

half brown morocco over cork boards, by Alain Lobstein,

t.e.g., signed at foot of front pastedown, original printed

wrappers bound in, spines very slightly faded and rubbed at

edges, 8vo (2). £250 – £350

Lot 66

66. Casenave (Jean) la bo n n e Ch è r e s e l o n ra b e l a i s, 18pp.,

one of 200 copies on Hollande Pannekoek paper, printed in

red, blue and black in Grotius, wood-engraved portrait by

Th.Haanebrink, original printed wrappers, uncut, preserved

in modern cloth folder and slip-case, 8vo, 190 x 120mm.,

Paris & Maastricht, 1927. £100 – £150

* * * Privately printed for René-Louis Doyon, one of its

authors and a frequent diner at the restaurant over which

Casenave presided, for the amusement of their friends.

Alexandre Stols

1926 had been very successful for Alexandre Stols but in 1927

his production fell by half. Enschedé printed only one book

for him (Rilke’s Les Roses) and van Krimpen contributed

only to Keats’ Odes. Stols returned to his first publishing

success, the Trajectum ad Mosam series, ongoing between

1922 and 1930 but peaking in 1927.

67. De Viau (Théophile) so n n e t s, 46pp., one of 200

copies, original marbled wrappers, printed label on

upper cover, 165 x 125mm., Bussum, 1927 § Campert (Jan

R.Th.) De Bron, 40pp., one of 200 copies, 230 x 150mm.,

Bussum, 1927 § Scholte (Henrik) Intermezzo, 26pp., one

of 200 copies, this copy for J.M.W.Hioolen, 230 x 150mm.,

Bussum, 1927 § Duinkerken (Anton von) Onder Gods

Ogen, 66pp., one of 350 copies, this for J.Mees P.Rzn, 200 x

130mm., Maastricht, 1927 § Secundus (Ioannes) Het Boek

der Kuskens, 32pp., one of 200 copies, wood-engraved

portrait by J.Franken Pzn, 200 x 130mm., Maastricht,

1930 § van Nijlen (Jan) De Vogel Phoenix, 44pp., one of

300 copies, 210 x 130mm., Brussels & Maastricht, 1928 §

van Schendel (Arthur) Fratilamur, 60pp., number 1 of 300

copies, prospectus loosely inserted, 205 x 140mm., Brussels

& Maastricht, 1928, all printed in red and black, all but

the first original printed grey wrappers with device in red

on upper cover, uncut, together in modern cloth box, 8vo,

A.A.M.Stols (7). £200 – £300

* * * Trajectum ad Mosam 18,19, 20, 22, 23, 26 & 27.


Lot 68

68. Keats (John) oD e s, 24pp., o n e o F 125 C o p i e s on Van

Gelder handmade paper, printed in red, blue and black in

Lutetia, title and initials by Jan van Krimpen, first Halcyon

Press prospectus tipped in at end, bookplate of Baron van

der Borch van Verwolde, bound in burgundy morocco, by

Louis Malcorps, press device in gilt on upper cover designed

by van Krimpen, spine titled in gilt, t.e.g., modern cloth slipcase,

8vo, 240 x 165mm., Bussum, Halcyon Press, 1927.

£600 – £800

* * * Baron van der Borch van Verwolde apprenticed himself

to Stols, commissioned works to be printed for him and his

friends, and ended life before a German firing squad in 1943

(see also lot 113).

69. Douglas (Lord Alfred) tw o lo v e s a n D o t h e r p o e M s ,

24pp., o n e o F 50 C o p i e s (not for sale) on laid Dutch antique

paper, printed in Garamond, 240 x 170mm., n.p., 1928 §

den Doolaard (A.) Vier Balladen, 20pp., n u M b e r 24 o F

50 C o p i e s on laid Van Gelder, printed in Lutetia, 250 x

170mm., Maastricht, 1928 § Roland Holst (Adrian) Shelley

(Een Afscheid), 16pp., number 118 of 150 copies on laid

Hollande Van Gelder, printed in Plantin, 230 x 180mm.,

Brussels, 1928, all in original wrappers, printed label on

upper covers, uncut, spine of the first slightly faded, 4to,

A.A.M.Stols (3). £150 – £200

Lot 70

70. Jaloux (Edmond) su r u n air D e sC a r l at t i, n u M b e r

xii o F xl C o p i e s o n v é l i n t e i n t é D e ho l l a n D e pa n n e k o e k

w i t h a n a D D i t i o n a l s u i t e o F p l at e s o n ho l l a n D, from an

edition limited to 450, t h i s C o p y a C t u a l ly w i t h 2 a D D i t i o n a l

s u i t e s (o n ho l l a n D e a n D Ja p o n), printed in red and black in

Garamond, wood-engraved frontispiece and illustrations by

J.Franken Pzn, most full-page, initials by Alphonse Stols,

original printed wrappers, uncut and unopened, additional

suites all numbered in pencil and loose as issued, together in

modern cloth drop-back box, 210 x 130mm., 8vo, Maastricht,

A.A.M.Stols, 1928. £180 – £220

* * * The artist’s most ambitious undertaking for Stols

and showing the influence of Flemish wood-engraving,

particularly Frans Masereel.

71. Labé (Lovïze) oe u v r e s Co M p l e t e s, n u M b e r 37 o F

40 C o p i e s o n ho l l a n D e pa n n e k o e k w i t h a n a D D i t i o n a l

iMpression o F t h e p o rt r a i t, from an edition limited to 650,

printed in red and black in Garamond, wood-engraved

portrait by J.Franken Pzn, ex libris stamp of Anthon Bakels

on front free endpaper, bound in half russet morocco, by

B.Graafland [for former owner, Joh.Polak], t.e.g., others

uncut, signed at foot of rear pastedown, original upper

printed wrapper bound in (browned), 8vo, 250 x 160mm.,

Maastricht, P.C.Boutens, 1928. £150 – £200

The library of Jan van der Marck

23


24

BLOOMSBURY AUCTIONS

Charles Nypels

From 1927 to 1928 Stols doubled the number of his

publications. In contrast Charles Nypels lost René-Louis

Doyon as his principal client and became more dependent

on ‘De Gemeenschap’.

Lot 72

72. he t wi t t e ge va a r o v e r Me l k, Me l k g e b r u i k,

Me l k M i s b r u i k & Me l k z u C h t [The pros and cons of

milk], 40pp., number 163 of 250 copies on antique Pannekoek

paper, printed in red and black in Grotius, illustrations

by H.Jelinger, bound in moulded black revorim, b y Je a n

D e go n e t (série 2 ‘plaque de bois’), beige calf spine with

exposed threads and red linen bands, uncut, original printed

wrappers bound in (a little browned), 8vo, 200 x 132mm.,

Maastricht, 1928. £150 – £200

* * * Satire advocating the stronger alternatives to milk,

dedicated to G.K.Chesterton.

Lot 73

73. Gautier (Théophile) ga l a n t e r i e s, o n e o F 100 C o p i e s,

t h i s C o p y i n s C r i b e D “iM p r iM é p o u r Je h a n b.kr a n s” on

colophon, printed in red and black in Grotius, modern clothbacked

marbled boards, uncut, original printed wrappers

bound in, 200 x 132mm., Calvinopolis [Maastricht], [1930]

§ Gide André) Lettres, one of 190 copies, printed in Erasmus

Mediaeval, modern marbled boards, 200 x 136mm., Liege,

La Lampe d’Aladdin, 1930 § [Chateaubriand (F.A. de)]

Atala, one of 525 copies, printed in red and black in Erasmus

Mediaeval, bookplate of Christoffel Koeman, modern half

brown morocco over cork boards, [by Alain Lobstein],

t.e.g., others uncut, original printed wrappers bound in,

200 x 130mm., Paris, La Connaissance, 1931 § Duinkerken

(Anton van) Het Wereldorgel, n u M b e r 19 o F 30 C o p i e s on

Hollande Pannekoek signed by the author and artist, from an

edition limited to 1000, printed in red and black in Plantin,

illustrations in yellow and black by Charles Eyck, original

cloth, 150 x 230mm., Utrecht, De Gemeenschap, 1931, 8vo

& oblong 8vo (4). £250 – £350

* * * The innovative layout and charm of the last (a brief

history of the world) won Nypels the Prix de Paris that year.

Lot 74

74. ro M a n D e re n a rt (le), translated by Alexis Curvers,

number 139 of 300 copies on Pannekoek Hollande teinté,

from an edition limited to 450, printed in red and black in

Grotius, wood-engraved device on title, illustrations and

initials by Victor Stuyvaert, modern half brown morocco

over cork boards, [by Alain Lobstein], t.e.g., others uncut,

original printed wrappers bound in, 8vo, 257 x 156mm.,

Liege, Éditions du Balancier, 1930. £200 – £300

* * * Stuyvaert, a native of Ghent, was at one time affiliated

with Masereel but developed a more refined style.


Lot 75

75. Varille (Mathieu) l’histoire D e ri q u i l D a e t D e

l’er M i t e Ju a n ga r i n, number 57 of 150 copies on Hollande

Pannekoek, printed in red and black in Grotius, 14 woodcut

plates by Hermann Paul, bound in moulded black revorim,

b y Je a n D e go n e t (série 5 ‘plaque d’égout’), upper cover

with most of beige calf circular inlay stamped in grey with

‘Jean de Gonet Artefacts 1989’, grey calf spine with exposed

threads and red linen bands, uncut, signed and numbered

193/200 at foot of front pastedown, original printed blue

wrappers bound in (slightly browned), 4to, 285 x 195mm.,

Paris, La Connaissance, 1931. £300 – £400

Alexandre Stols

Lot 76

76. Do n se g u n D o so M b r a, o n e o F a F e w h o r s C o M M e r C e

C o p i e s o n Ja p o n s u p e r n a C r é from an edition limited to 330,

t h i s C o p y i n s C r i b e D “ta C h i y ta C h o, C o n e l r e C o n o C i M i e n t o y

F i e l r e C u e r D o D e l o s a ñ o s q u e a C o M pa ñ a r o n C o n su at e n C i ó n

y C a r i ñ o a Ma M i ta - ra M a C h a n D a go r D a” on colophon,

printed in red, blue and black in Lutetia, title, cover and

initials designed by Alphonse Stols, illustrations by Alberto

Güiraldes, some full-page, occasional light spotting, mainly

to endpapers, original vellum wrappers, uncut, original

board folder imitating horse’s coat, very slightly rubbed

at edges, rebacked in cloth preserving original spine,

modern cloth slip-case, 4to, 330 x 255mm., [Maastricht,

A.A.M.Stols], 1929. £500 – £700

* * * Novel set amongst the gauchos of the pampas by the

Argentine poet Güiraldes, originally published in 1926. The

authors’s widow, Adelina Güiraldes, wished to honour the

memory of her late husband with a limited edition illustrated

by his brother Alberto. The 20,000 guilder budget, a fortune

for the time, far exceeded what Stols had ever spent or ever

would spend on a book.

Scarce; the edition was sent off to Argentina and few copies

appear to have returned to Europe.

Lot 77

77. [Beyle (Marie Henri)], “Stendhal”. er n e s t i n e o u l a

na i s s a n C e D e l’aM o u r, n u M b e r i o F xx C o p i e s o n Ja p o n

w i t h 2 s u i t e s o F p l at e s (on Japon and Hollande), from an

edition limited to 524, printed in red and black in Caslon, 4

etched plates by Sacha Klerx, bound in olive green morocco,

by Alain Lobstein, t.e.g., others uncut, original printed

cream wrappers bound in, signed at foot of front turn-in,

board slip-case, 8vo, 220 x 140mm., Maastricht & Brussels,

A.A.M.Stols, 1929. £300 – £400

The library of Jan van der Marck

25


26

BLOOMSBURY AUCTIONS

Lot 78

78. Boon (Jan) th e pl a n t i n Mu s e u M at an t w e r p:

wo o D C u t s, Preface by A.J.J.Delen, n u M b e r 6 o F t h e D e

l u x e e D i t i o n o n Ja p o n (of an unspecified number), printed

in Lutetia, woodcut title-vignette, head-piece and 6 plates

by Jan Boon, the plates all signed in ink, loose as issued

in original cloth-backed printed board folder with ties, a

little browned, folio, 460 x 325mm., London & Brussels,

A.A.M.Stols, [1930]. £250 – £350

Lot 79

79. Giono (Jean) Co l l i n e, n u M b e r 99 o F 99 C o p i e s on

Pannekoek vélin à la forme, t h i s C o p y F o r Ma D a M e a.goFFin,

printed in green and black in Lutetia, colour lithograph

frontispiece and 11 illustrations by Amédée de la Patellière,

bookplate of Maurice Crick, loose as issued in original

green wrappers, uncut, glacine wrapper, glazed green board

box (spine a little faded, slightly rubbed at edges), 4to,

250 x 190mm., Paris, Les Exemplaires, 1930.

£200 – £300

* * * The Société Les Exemplaires, a group of bibliophiles

limited to 99 members and active between the wars, counted

Stols among its members.

Lot 80

80. Güiraldes (Ricardo) el se n D e r o: no ta s s o b r e M i

e v o l u C i ó n e s p i r i t u a l i s ta e n v i s ta D e u n F u t u r o, n u M b e r

xxvi o F 30 C o p i e s o n Ja p o n s u p e r n a C r é s i g n e D b y t h e

a u t h o r’s w i D o w, from an edition limited to 150, printed in

red, blue and black in Lutetia, initials by Alphonse Stols,

original vellum wrappers printed in red, uncut, original red

silk folder, gilt, preserved in contemporary red moroccobacked

marbled board folder and slip-case (slightly rubbed

at corners), 8vo, 230 x 150mm., [Maastricht, A.A.M.Stols],

1932. £300 – £400

* * * The poet’s path to self-knowledge, finished shortly

before his death and not intended for publication.

Lot 81

81. Supervielle (Jules) Dé b a r C a D è r e s, n u M b e r vii o F x

C o p i e s o n v e r g é D e ho l l a n D e pa n n e k o e k from an edition

limited to 510, 250 x 175mm., Maastricht, Halcyon Press,

[1934] § Moore (T.Sturge) Nine Poems, number 69 of 125

copies on Pannekoek, original cloth, spine faded, 245 x

175mm., Halcyon Press, 1930 § Conrad (Joseph) Un Héros

Polonais..., translated by G.Jean-Aubry, hors commerce copy

on Hollande initialled by the publisher, from an edition limited

to 415 (15 on Hollande), printed in Garamond, portrait,

folding map,220 x 175mm., Maastricht, [1933], the first

two printed in red and black in Lutetia, the first and second

original printed wrappers, the first with kingfisher device in

red by John Buckland Wright (its only appearance), lightly

browned, all uncut, 4to, A.A.M.Stols (3) £150 – £200

* * * Oliver Simon had found a small office space for Stols in

the building that housed the Curwen Press, and from there he

published the Sturge Moore. The T.L.S. commented, “few poets

have seen their verse set forth in a more beautiful book”.


Frans Masereel and his compatriots

There appeared to be a consensus, around the turn of

the century, that wood-engravings were best suited to

complement the text of a finely produced book. In order

to stand up against their visually aggressive imagery, type

became bolder, fatter and more assertive. Before WW1 the

Fauve painters Derain, Dufy and Vlaminck put a new face on

wood-engraving in France just as the “Die Brücke” artists

and their primitivism transformed the German woodblock.

The Great War gave rise to a new generation of politicized

and often pacifist engravers particularly Frans Masereel,

whose influence stretched well into the 1930s, particularly

in his native Belgium.

Lot 82

82. Verhaeren (Émile) qu i n z e poè m e s, number 166 of

190 copies on Fabriano from an edition limited to 1555, 57

woodcut illustrations by Frans Masereel, some full-page,

bound in black morocco, b y al a i n lob s t e i n, spine titled in

gilt, t.e.g., others uncut, tan suede doublures and flyleaves,

original printed wrappers bound in, signed at foot of front

turn-in, board slip-case, 4to, 260 x 195mm., Paris, Georges

Crès & Cie., [1917]. £400 – £600

Lot 83

83. Verhaeren (Émile) Ci n q Ré C i t s, n u m b e R 5 o f 14 C o p i e s

o n Ja p o n im p é R i a l s i g n e d b y t h e a Rt i s t a n d w i t h 2 o R i g i n a l

d R aw i n g s a n d a n a d d i t i o n a l s u i t e o f p l at e s o n C h i n e, from

an edition limited to 578, 28 woodcut plates and illustrations

by Frans Masereel, original pen and ink drawings (for

illustrations on pp.43 & 62) mounted on heavy paper and

signed or initialled in pencil, additional suite bound in at

end (lightly spotted), original printed wrappers, uncut,

preserved in modern black calf-backed cloth drop-back box,

4to, 210 x 160mm., [Geneva], Éditions du Sablier, 1920.

£600 – £800

Lot 84

84. Masereel (Frans) so u v e n i R s d e mo n pay s , number 149

of 150 copies on Hollande Van Gelder à la cuve and signed

by the artist, from an edition limited to 169, 16 woodcut plates

by Masereel, bound in black morocco, [by Jon Buller], spine

titled in gilt, original upper printed wrapper bound in, cloth

slip-case, 4to,250 x 190mm., [Geneva], Éditions du Sablier,

1921. £250 – £350

The library of Jan van der Marck

27


28

BLOOMSBURY AUCTIONS

Lot 85

85. Masereel (Frans) die pa s s i o n: ei n e s me n s C h e n, n u m b e R

45 o f 50 C o p i e s o n Ja p o n a n d s i g n e d b y t h e a Rt i s t, from

an edition limited to 750, 25 woodcut plates by Masereel,

original turquoise shagreen, by E.A.Enders of Leipzig, t.e.g.,

others uncut, spine a little faded, modern cloth slip-case,

4to, 280 x 220mm., Munich, Kurt Wolff, [1921].

£300 – £400

86. Villon (François) le

te s ta m e n t, l e t t e R C o f 15

h o R s C o m m e R C e C o p i e s s i g n e d

b y t h e a Rt i s t, from an edition

limited to 165, t h i s C o p y f o R

m.is a a C poug at z, a l s o s i g n e d

a n d i n s C R i b e d to h i m b y fRa n s

ma s e R e e l on front free endpaper,

printed in red and black by Joh.

Enschedé en Zonen, 12 fullpage

woodcut illustrations

by Masereel, modern vellumbacked

black cloth, uncut,

original upper printed wrapper

bound in (a little browned), 4to,

Paris, Pierre Vorms, [1930].

£200 – £300

Lot 87

Lot 86

87. Verhaeren (Émile) le s he u R e s d’ap R è s-mi d i, number

170 of 260 on Arches from an edition limited to 285 printed

by J.E.Goossens of Brussels, wood-engraved illustrations

and decorations by Claes-Thobois all printed in colours,

prospectus loosely inserted, original printed wrappers,

uncut, decorative endpapers with raspberry motif, preserved

in cloth drop-back box, 4to, 280 x 190mm., Brussels, a

l’Enseigne du “Framboisier”, 1923. £150 – £200

* * * The endpapers are reminiscent of another Belgian artist,

Théo van Rijsselberghe, with whom Claes-Thobois shared a

Luminist phase.

Lot 88

88. faCétieuse vie (la) d u Je u n e Ja C q u e t a u flageolet...,

translated by Robert Guiette, n u m b e R 52 o f 100 C o p i e s but

uncoloured, printed in red and black by J.-E.Buschmann

of Antwerp, woodcut illustrations by Jozef Cantré, original

pictorial wrappers, 220 x 160mm., Antwerp, De Sikkel, 1933

§ Avermaete (Roger) Dix vieilles chansons du beau pays de

Flandre, number 78 of 104 copies on Hollande Pannekoek

printed by Loki of Antwerp, woodcut border printed in yellow

throughout and illustrations by Joris Minne, modern wrappers

preserving original paper label on upper cover, 220 x 175mm.,

n.p., [1928] § Orléans (Charles) Chansons, limited edition on

Hollande Van Gelder à la cuve, printed in green and black in

Caslon by Nijgh & Van Ditmar of Rotterdam, wood-engraved

frontispiece by Fokko Mees, bookplate of Dutch poet Victor

van Vriesland on verso of frontispiece, modern cloth, 220 x

140mm., Blaricum, Editions de Waelburgh, [1932], the first

two preserved in modern cloth folders and slip-cases, 4to &

8vo (3). £250 – £350

Lot 89


Ashendene Press

The Ashendene Press (1895-1935), like the Doves Press

(1900-1916), forsook illustration in favour of a typography

so majestic as to deserve to be called art. Then, after a slow

start in the postwar decade, book illustration in England

sprang into bloom in the 1930s. Presses such as the Golden

Cockerel, Gregynog, Curwen, Nonesuch and Shakespeare

Head made original graphics integral to their fine printing.

89. Wilde (Oscar) th e yo u n g ki n g a n d o t h e R ta l e s, one

of 65 copies on paper, printed in red, blue and black in

Subiaco type, initials by Graily Hewitt, i n s C R i b e d b y st.Jo h n

ho R n b y to “Jo h n ga l s w o Rt h y f R o m h i s f R i e n d, t h e pRi n t e R

oC t o b e R 31,1924” on front free endpaper, bound in grey

goatskin, b y don a l d gla i s t e R, covers with inlaid panel of

mylar airbrushed over photocopied fragments of the book’s

typography and edged with inlaid strips of painted goatskin

to give three-dimensional effect, spine titled in gilt, t.e.g.,

others uncut, purple suede doublures and flyleaves, signed

and dated 1992 on rear turn-in, preserved in cloth dropback

box, 8vo, 205 x 140mm., Ashendene Press, 1924.

£1500 – £2000

* * * Printed by St.John Hornby for his daughter Rosamund’s

tenth birthday.

Lot 90

90. wi s d o m o f Je s u s t h e so n o f si R a C h (th e) C o m m o n ly

C a l l e d eC C l e s i a s t i C u s, one of 328 copies on paper, printed

in red and black in Subiaco type with initials supplied by hand

in blue and green by Graily Hewitt and assistants, original

orange-stained vellum with ties, by Douglas Cockerell of

the W.H.Smith bindery, uncut, spine slightly faded as usual,

original Cockerell marbled board slip-case (very slightly

rubbed at edges), 4to, 290 x 190mm., Ashendene Press,

1932. £800 – £1200

* * * Despite announcing that the Press was closing Hornby

notes in the Bibliography of the press, “The temptation to

add yet one more book to my list was too strong for me to

resist and I there and then offered to print a small edition.

I have never regretted having done so, as in my humble

judgment it is one of the most satisfactory of the books of

the Press.”

Golden Cockerel Press

Lot 91

91. Gill (Eric) passio do m i n i no s t R i Je s u Ch R i s t i: number

69 of 250 copies on Batchelor handmade paper, printed

in red and black, wood-engraved title-vignette and 5

illustrations by Eric Gill, 2 full-page, bound in black

goatskin, b y J.fR a n k l i n mo w e R y , covers with square panel

blind-stamped in an abstract design of the illustration on

p.9 (Christ carrying the cross on the road to Calvary), spine

titled in gilt, edges of boards ruled in gilt, uncut, original

printed and illustrated upper wrapper of dust-jacket bound

in at end (a little soiled and browned), signed “JFM ‘94”

at foot of rear turn-in, board slip-case, 4to, 250 x 190mm.,

Golden Cockerel Press, Waltham St.Lawrence, 1926.

£1500 – £2000

Lot 92

92. Mathers (E. Powys) pR o C R e a n t hy m n , number 156 of

200 copies on Batchelor handmade paper, printed in Caslon

italic, copper-engraved frontispiece and 4 plates by Eric

Gill, bound in crimson goatskin, b y J.fR a n k l i n mo w e R y ,

text of first line of each stanza in blind running continuously

across both covers and spine (the more erotic lines slightly

larger), graphite top edge, others uncut, signed “JFM ‘95”

at foot rear turn-in, board slip-case, 8vo, 235 x 155mm.,

Waltham St.Lawrence, Golden Cockerel Press, 1926.

£1000 – £1500

* * * The first book illustrated for the press by Eric Gill.

ex h i b i t e d: The Art of the Contemporary Bookbinding,

Bibliotheca Wittockiana, Brussels; Koninklijke Bibliotheek,

The Hague; Bibliothèque Historique de la Ville de Paris,

1997, p.136, repr.The Fine Bindings of J.Franklin Mowery,

Washington, D.C., 2007, pp.20-21

The library of Jan van der Marck

29


30

BLOOMSBURY AUCTIONS

Lot 93

93. fo u R go s p e l s (th e) o f t h e lo R d Je s u s Ch R i s t, number

176 of 500 copies on Batchelor handmade paper, printed

in Golden Cockerel type, wood-engraved illustrations and

initials by Eric Gill, some full-page, woodcut bookplate

in red and black of Theo van der Marck, bound in black

goatskin-backed alum-tawed goatskin, b y J.fR a n k l i n

mo w e R y , boards blind-stamped with seven illustrated

examples of the word “And” from the book and interspersed

with thick horizontal rules, edges of boards with double rule

in blind, spine with seven raised bands and ruled and titled

in gilt, t.e.g., others uncut, black suede doublures, signed

“JFM 2001” at foot of rear turn-in, alum-tawed goatskinbacked

black cloth drop-back box, upper and lower covers

blind-stamped with “And” as the book, folio, 330 x 230mm.,

Waltham St. Lawrence, Golden Cockerel Press, 1931.

£5000 – £7000

* * * A magnificent binding of the magnum opus of the Golden

Cockerel Press and the culmination of the collaboration

between Robert Gibbings and Eric Gill.

ex h i b i t e d: The Fine Bindings of J.Franklin Mowery,

Washington, D.C., 2007, pp.28-29


Lot 94

94. bo o k o f Jo n a h (th e)..., number 78 of 175 copies on

Batchelor handmade paper, wood-engraved title-vignette

and illustrations by David Jones, some full-page, bound in

black goatskin, b y J.fR a n k l i n mo w e R y , ruled and blindstamped

L-shaped block on each cover and running across

spine reflecting the format of the double-page border

illustrations in the book, spine titled in gilt, edges of boards

ruled in gilt, uncut, original printed and illustrated upper

wrapper of dust-jacket bound in at end, signed “JFM ‘94”

at foot of rear turn-in, board slip-case, 4to, 250 x 190mm.,

Waltham St.Lawrence, Golden Cockerel Press, 1926.

£1200 – £1800

* * * One of the most limited of the press’s productions.

According to the binder the linear aspect of the blindstamping

reflects the storm which caused Jonah to be cast

overboard.

Lot 95

95. Coleridge (Samuel Taylor) th e Ri m e o f t h e an C i e n t

ma R i n e R, n u m b e R 49 o f 60 C o p i e s s i g n e d b y t h e a Rt i s t a n d

w i t h a n a d d i t i o n a l s e t o f t h e e n g R av i n g s in t h e f i n a l s t at e ,

from an edition of 470 on Barcham Green handmade paper,

printed in Arrighi italic by the Fanfare Press under the

supervision of Stanley Morison, etched head- & tail-pieces

and 8 plates by David Jones, additional plates in pocket

at end, modern dark blue morocco-backed cloth, spine

gilt, t.e.g., others uncut, spine very slightly faded, 4to, 320

x 250mm., Bristol, Douglas Cleverdon, 1929.

£1000 – £1500

Lot 96

96. Laboureur (Jean-Émile).- Cazotte (Jacques) th e

de v i l in lo v e, n u m b e R 66 o f 75 C o p i e s o n va n ge l d e R pa p e R

s i g n e d b y t h e a Rt i s t a n d w i t h a n a d d i t i o n a l s u i t e o f p l at e s,

from an edition limited to 395, bookplate of John Raymond

Danson, modern vellum-backed cloth, 220 x 140mm., 1925

§ Farquhar (George) The Beaux Stratagem, n u m b e R 29 o f

70 C o p i e s o n bat C h e l o R h a n d m a d e pa p e R w i t h a n a d d i t i o n a l

s u i t e o f p l at e s, from an edition limited to 527, p R e s e n tat i o n

C o p y to de s m o n d fl o w e R f R o m t h e p u b l i s h e R i n s C R i b e d “to

t h e fl o w e R s in t h e sp R i n g f R o m g.m.b[R o w n l e e] a n d d.C.”

on front free endpaper and with Flower’s bookplate by Eric

Gill, also book-label of Albert Sperisen by Reynolds Stone,

prospectus tipped in at end, original vellum-backed cloth,

gilt, 210 x 120mm., Bristol, Douglas Cleverdon, 1929, both

with engraved plates and/or illustrations by Jean-Émile

Laboureur, additional plates loose in pockets at end, t.e.g.,

others uncut, printed by Walter Lewis at the Cambridge

University Press, 8vo (2). £200 – £300

Lot 97

97. Nonesuch Press.- Homer. th e il i a d, translated by

Alexander Pope, number 902 of 1450 copies printed by Joh.

Enschedé en Zonen, text in Greek and English, printed in

red and black in van Krimpen’s Antigone and Monotype

Cochin types, wood-engraved head-pieces by Rudolf Koch,

with Meynell’s note ‘On first looking into Pope’s Homer’

loosely inserted, original russet morocco, gilt, t.e.g., others

uncut, spines very slightly darkened, a little spotting to

boards, 8vo, 260 x 150mm., Nonesuch Press, 1931.

£250 – £350

The library of Jan van der Marck

31


32

BLOOMSBURY AUCTIONS

Cresset Press

Lot 98

98. th e pilgRim’s pR o g R e s s, 2 vol., number 18 of 195

copies on Batchelor handmade paper, printed by Bernard

Newdigate at the Shakespeare Head Press of Stratford-upon-

Avon, 6 wood-engraved plates by Blair Hughes-Stanton and

4 by Gertrude Hermes, original vellum stained black, gilt,

t.e.g., others uncut, very slightly rubbed at edges (as often),

spines faded, folio, 350 x 250mm., Cresset Press, 1928.

£350 – £450

Lot 99

99. ap o C Ry p h a (th e), a C C o R d i n g to t h e au t h o R i z e d ve R s i o n,

number 320 of 450 copies on mould-made paper, printed by

Oliver Simon at the Curwen Press, initials by Anna Simons,

wood-engraved plates by Blair Hughes-Stanton, Gertrude

Hermes, Leon Underwood, Stephen Gooden, Eric Ravilious,

John Nash and others, modern vellum with original calf label

on spine, t.e.g., cloth slip-case, small folio, 325 x 203mm.,

Cresset Press, 1929. £200 – £300

Gregynog Press

Lot 100

100. Re v e l at i o n o f sa i n t Jo h n t h e di v i n e (th e), number

239 of 250 copies on Japanese vellum, printed in brown and

black in Bembo and Perpetua, wood-engraved illustrations

by Blair Hughes-Stanton, 13 full-page, bound in tan goatskin,

b y hu g o pe l l e R, wide brown goatskin strips onlaid across

boards and spine at head and foot, ruled and tooled in gilt

and brown either side of join, spine titled in brown, t.e.g.,

signed at foot of rear turn-in but undated [c.1986], goatskinbacked

cloth drop-back box, small tan circular inlay with

gilt dot on upper cover, folio, 340 x 200mm., Newtown,

Gregynog Press, 1932. £1500 – £2000

Lot 101

101. la m e n tat i o n s o f Je R e m i a h (th e), number 226 of

250 copies on Japanese vellum, printed in blue and black

in Baskerville italic, wood-engraved illustrations by Blair

Hughes-Stanton, 5 full-page, title and initials also by Hughes-

Stanton, original dark blue morocco, title and device in blind

on upper cover, spine titled in blind, preserved in later cloth

slip-case, folio, 340 x 260mm., Newtown, Gregynog Press,

1933. £1000 – £1500


Lot 102

102. Blunt (Lady Anne, translator) th e Ce l e b R at e d

Ro m a n C e o f t h e st e a l i n g o f t h e ma R e... done into verse

by Wilfrid Scawen Blunt, number 227 of 275 copies on

Japanese vellum, device on title printed in blue and gold,

wood-engraved frontispiece and pictorial initials by

R.A.Maynard, all hand-coloured, some heightened with

gold, bound in dark blue goatskin, b y hu g o pe l l e R, upper

cover with inlaid square of red goatskin tooled with dove

holding olive branch in gilt and edged with irregular strips

of fawn goatskin, both covers with gilt rules and thin onlaid

strips of white calf, spine titled in gilt, edges of boards

ruled in gilt, top edge alternating gilt and palladium, others

uncut, signed at foot of rear turn-in but undated [1990],

together with loosely inserted sheet of 1981 Hans Erni

handmade paper watermarked with angel, signature and

date, dark blue goatskin-backed cloth drop-back box, small

blue circular inlay with gilt dot on upper cover, 4to, 305

x 225mm., Newtown, Gregynog Press, 1933.

£1800 – £2200

Lot 102

Lot 103

103. Limited Editions Club.- Gray (Thomas) el e g y

w R i t t e n in a Co u n t Ry Ch u R C h-ya R d , printed on Portal’s

handmade paper by R.A.Maynard at the Raven Press,

wood-engraved illustrations by Agnes Miller Parker, most

full-page, bookplate of Richard & Miriam Rosenberg,

original embossed pictorial buckram blocked in palladium,

uncut, spine slightly faded, slip-case, 250 x 175mm., 1938

§ Sheridan (R.B.) The School for Scandal, designed by

Francis Meynell and printed on mould-made paper at the

Oxford University Press, 16 hand-coloured etched plates by

René Ben Sussan, lightly offset, original patterned-paper

boards, board folder (spine faded and joints split), modern

slip-case, 290 x 180mm., Oxford, 1934, each one of 1500

copies signed by the artist, 4to, for members of The Limited

Editions Club (2). £120 – £180

Golden Cockerel Press

Lot 104

104. th e ga R d e n o f Ca R e s s e s, 2 vol., number 36 of 275 copies,

t h i s o n e o f C.25 s p e C i a l ly-b o u n d C o p i e s w i t h 6 a d d i t i o n a l

e R o t i C e n g R av i n g s, title in green and black, engraved headpieces

by Gertrude Hermes, original vellum, gilt cockerel on

upper cover, t.e.g., others uncut, additional engravings all

signed and dated in pencil, removed from pocket at end and

tipped to sheets in modern vellum binding, uncut, together

in modern cloth slip-case, small 4to, 210 x 155mm., Golden

Cockerel Press, 1934. £750 – £1000

The library of Jan van der Marck

33


34

BLOOMSBURY AUCTIONS

Lot 105

105. so n g o f so n g s (th e), edited by W.O.E.Oesterley,

n u m b e R 43 o f 64 s p e C i a l ly-b o u n d C o p i e s w i t h 6 a d d i t i o n a l

p l at e s, from an edition limited to 204 on Batchelor

handmade paper, printed in red and black in Perpetua, 6

copper-engraved plates by Lettice Sandford, original half

green morocco with gilt pictorial buckram upper panel, by

Sangorski & Sutcliffe, t.e.g., others uncut, buckram a little

mottled, spine very slightly faded, additional plates all signed

in pencil and bound in modern half green morocco, uncut,

together in modern cloth slip-case, folio, 375 x 275mm.,

Golden Cockerel Press, 1936. £800 – £1200

John Buckland Wright

Few will dispute that wood-engravings as enhancement

of the finely printed book reached their zenith in England

in the 1930s. Robert Gibbings, Eric Gill, David Jones and

Blair Hughes-Stanton come to mind but none of their books

have been sought after with as much zeal as John Buckland

Wright. The Dutch poet Jan Greshoff brought his friend

Alexandre Stols to see the work of the young Englishman

living in Brussels. Stols helped to launch the career of an

engraver who, over a period of twenty-five years, illustrated

some seventy books, many charged with eroticism and

nostalgia for an earthly paradise.

Lot 106

106. th e Co l l e C t e d so n n e t s, n u m b e R xxx o f 35 C o p i e s o n

Ja pa n e s e v e l l u m s i g n e d b y t h e a Rt i s t a n d w i t h 2 e x t R a s e t s

o f p l at e s, (on Japanese vellum and Pannekoek laid paper),

from an edition limited to 376, printed in van Krimpen’s

Romanée by Joh.Enschedé en Zonen, wood-engraved plates

by John Buckland Wright, original black shagreen, by Louis

Malcorps, female nude by Buckland Wright in gilt on upper

cover, t.e.g., others uncut, signed at foot of front turn-in, very

slight rubbing to edges, modern cloth slip-case, 4to, 245 x

175mm., Maastricht, Halcyon Press, A.A.M.Stols, 1930.

£2500 – £3500

* * * The illustrator’s first book. St.John Hornby acquired

copy No.1 with the original sketches and drawings, and

Eric Gill praised the “sensual feeling” of the illustrations,

comparing them with those of Gibbings and Maynard.

107. Rimbaud (Arthur) oe u v R e s Co m p l è t e s, edited by

Pascal Pia, number 46 of 250 copies on Old Drury laid paper,

from an edition limited to 371, printed in red and black,

copper-engraved portrait by John Buckland Wright (slight

crease to lower inner margin, not affecting image), original

printed yellow wrappers with wood-engraved illustration

by Buckland Wright in red on upper cover, glacine wrapper

very slightly frayed at edges, t.e.g., others uncut, 4to, 280

x 190mm., [Maastricht], Halcyon Press, A.A.M.Stols, 1931;

and another, similar (Vaudoyer’s Donne-moi ton Coeur...,

1931), 4to & 8vo (2). £100 – £150

108. Goethe (Johann Wolfgang von) die le i d e n d e s

Ju n g e n we Rt h e R s, number 123 of 125 copies [actually only

26] on Dutch Pannekoek vellum and signed by the publisher,

from an edition limited to 140, printed in Romanée, 10

copper-engraved plates by John Buckland Wright, all

signed in pencil, a few small marginal stains, ink number

and signature on colophon faint as a result of washing,

bound in black goaskin, b y pe t e R ge R at y in t h e s t y l e o f

t h e o R i g i n a l b i n d i n g b y lo u i s ma l C o R p s, both covers with

design of crossed pistols surmounted by heart and crown

by Buckland Wright in gilt, spine titled in gilt, t.e.g., others

uncut, black silk doublures and flyleaves, turn-ins ruled and

tooled in gilt, signed “20.PG.01” at foot of rear turn-in, cloth

slip-case, 8vo, 225 x 140mm., Maastricht, Halcyon Press,

[A.A.M.Stols], 1931. £1000 – £1500

* * * Almost a hundred copies of the printed text remained

in sheets without accompanying illustrations for which the

printer lacking the funds. A ‘rara avis’, this properly illustrated

but unbound copy was located in Australia. According to the

printer’s archive the original order for the engravings was

reduced to 16 sets on Japon and 40 on Pannekoek, with no

evidence of a supplementary order as the book sold poorly.

As copy No.I had a double set on Japon and copies II-XV

had sets on both Japon and Pannekoek, that would leave only

26 remaining sets on Pannekoek instead of the required 125.

This may be why Buckland Wright signed all of the plates.

“This book is far scarcer than the printed limitation suggests...

This book contains the first copper-engravings which JBW

produced for book illustrations. His dissatisfaction with

them was the reason for his joining William Hayter at Atelier

17.” Anthony Reid, A Check-list of the Book Illustrations of

John Buckland Wright ,1968


Lot 108

109. Milhaud (Darius) tw o po e m s o f Co v e n t Ry pat m o R e ,

24pp., n u m b e R xxii o f xxv C o p i e s o n Ja p o n s i g n e d b y t h e

C o m p o s e R, from an edition limited to 300, text in English and

French, printed in Lutetia, title in red and black, 2 woodengraved

illustrations by John Buckland Wright, musical

notation, bound in moulded black revorim, b y Je a n d e go n e t

(série 3 ‘briques’), covers edged in brown calf at foreedges,

grey calf spine with exposed threads and red linen

bands, uncut, signed in binding, original blue wrappers with

printed label on upper cover bound in, slight rubbing to calf

on spine and edges, folio, 380 x 280mm., Maastricht etc.,

A.A.M.Stols, 1931. £600 – £800

* * * In correspondence with Stols, Buckland Wright called

the illustrations “hell to do” because he judged Patmore a

terrible Pre-Raphaelite, too puritan and not pagan enough.

Lot 109

Lot 110

110. Keats (John) th e le t t e R s...to fa n n y bR aw n e ,

n u m b e R xxv o f 30 C o p i e s o n Ch a R l e s i h a n d m a d e pa p e R

a n d w i t h a d o u b l e s e t o f p R o o f s o f t h e p o Rt R a i t (on Charles

I and Pannekoek), from an edition limited to 376, printed in

Romanée, wood-engraved portrait by John Buckland Wright,

both proofs signed in pencil and bound in at end, original

black shagreen, by Louis Malcorps, kneeling female nude by

Buckland Wright in gilt on upper cover, t.e.g., others uncut,

signed at foot of front turn-in, very slight rubbing to joints,

marbled board slip-case (small split to one joint), 8vo, 230 x

150mm., Maastricht, Halcyon Press, [A.A.M.Stols], 1931.

£300 – £400

Lot 111

111. [Beyle (Marie Henri)], “Stendhal”. an e C d o t e s

ita l i e n n e s & fR a n ç a i s e s, number 101 of 200 copies on Savoy

Antique laid paper, printed in red and black in Garamond,

copper-engraved frontispiece by John Buckland Wright

(lightly offset on title), bound in moulded black revorim, b y

Je a n d e go n e t (série 3 ‘briques’), covers edged in brown calf

at fore-edges, brown calf spine with exposed threads and red

linen bands, uncut, original printed wrappers bound in, 8vo,

220 x 140mm., [Maastricht], Les Bibliophiles Hollandais,

[A.A.M.Stols], [1931]. £300 – £400

The library of Jan van der Marck

35


36

BLOOMSBURY AUCTIONS

Lot 112

112. Poe (Edgar Allan) th e ma s q u e o f t h e Re d de at h a n d

ot h e R ta l e s, number 85 of 175 copies on Barcham Green

handmade paper, from an edition limited to 206, printed

in red and black in Romanée, 10 wood-engraved full-page

illustrations by John Buckland Wright, initials by Alphonse

Stols, original orange buckram, vignette by Buckland Wright

in gilt on upper cover, uncut, spine very slightly faded, w i t h

a s e t o f p R o o f s o n t h e s a m e pa p e R, ship engraving signed

in pencil (with light marginal browning), loose in modern

card folder, together in modern cloth drop-back box, both

with vignette in gold on upper cover, 4to, 260 x 175mm.,

[Maastricht], Halcyon Press, [A.A.M.Stols], 1932.

£600 – £800

* * * An interesting comparison to Poe’s The Fall of the House

of Usher published in 1929 and illustrated by Alexandre

Alexeieff, whom Buckland Wright considered a bit of a

rival.

Lot 113

113. Swinburne (Algernon Charles) do l o R e s, fiRst

e d i t i o n, [o n e o f 50 C o p i e s o n Ja p o n a n C i e n], 11 woodengraved

illustrations by John Buckland Wright, light

spotting, small red ink stamp of Haentjens Dekker (a onetime

business partner of Stols) on front free endpaper, bound

in orange, purple and ivory silk brocade, gilt-stamped

morocco label on upper cover, uncut, original blue wrappers

with printed label on upper cover bound in, spine a little

rubbed and frayed, preserved in cloth wrapper and dropback

box, 8vo, 250 x 160mm., [Maastricht, privately printed

for Baron Emile van der Borch van Verwolde by A.A.M.

Stols], 1933. £1000 – £1500

* * * The illustrations appear as white line engravings in the

first edition but were reworked as silhouettes with additional

white line hatching for the second edition. The final

illustration of a female nude with three ravens refers to the

coat-of-arms of the Baron van der Borch who commissioned

the book from Stols. It also served as his bookplate.

Lot 114

114. Byron (George Gordon Noel, Lord) ly R i C a l po e m s ,

72pp., one of 500 copies on Antique de Luxe paper, printed

in Bembo, wood-engraved portrait by John Buckland

Wright, bookplate of Paul Butcher, original cloth, rebacked

in vellum, 220 x 145mm., 1933 § Melville (John) Batavia,

36pp., one of 100 copies on mould-made Pannekoek, printed

in Romanée, 240 x 175mm., 1930 § Büchner (Georg)

Dantons Tod, 118pp., one of 225 copies on laid Pannekoek,

printed in Garamond, bookplate of J.Maas, 250 x 175mm.,

1930 § Huebner (F.M.) Die Verklärund im Fleische, 84pp.,

one of 300 copies on Savoy Antique, printed in Romanée,

250 x 175mm., 1930, all printed in red and black, all but the

first original orange or red cloth with vignette by Buckland

Wright in gilt on upper cover, uncut, very slightly rubbed or

faded, 8vo & 4to, Maastricht, Halcyon Press (4).

£200 – £300


Lot 115

115. Orléans (Charles, Duc ‘d) Ca R o l e e n lat i n, 4pp.,

o n e o f 88 C o p i e s o n Ja p o n, printed in Erasmus Mediaeval,

wood-engraved illustration by John Buckland Wright,

original printed wrappers, glacine wrapper, 130 x 100mm.,

Maastricht, A.A.M.Stols, pour les membres de la Compagnie

Typographique, 1934; and an unlimited version of the same,

issued as a Christmas card by Stols, together in modern

cloth-backed marbled board drop-back box, 12mo

£150 – £200

Lot 116

116. Greshoff (Jan) ge d i C h t e n 1907-1934, n u m b e R iii

o f xv C o p i e s o n fa b R i a n o h a n d m a d e pa p e R a n d s i g n e d b y

t h e a u t h o R, from an edition limited to 625, t h i s C o p y f o R

d.J.J.hu i z i n g a va n d e R wo u d e, wood-engraved portrait

by John Buckland Wright, w i t h a n a d d i t i o n a l s i g n e d p R i n t

o f t h e e n g R av i n g o n Ja p o n bound in at beginning, small

ink library stamp of Johan B.W.Polak on rear pastedown,

contemporary black morocco, by Louis Malcorps, t.e.g.,

others uncut, signed at foot of front turn-in, board slipcase,

220 x 140mm., 1934 § Ter Braak (Menno) Het Tweede

Gezicht, one of 600 copies on Allura, wood-engraved

portrait by Buckland Wright, original buckram, gilt, uncut,

dust-jacket, spine browned, 220 x 140mm., 1935, both

printed in Bembo by A.A.M.Stols of Maastricht, 8vo, The

Hague, Folemprise (2). £250 – £350

Lot 117

117. Cu p i d’s pa s t i m e, l e t t e R o o f 31 C o p i e s o n ba R C h a m

gR e e n h a n d m a d e pa l e g R e e n pa p e R a n d s i g n e d b y t h e

a Rt i s t, printed in Lutetia italic, copper-engraved head- &

tail-piece and 4 full-page illustrations by John Buckland

Wright, tissue guards, engraved bookplate of G.M van Wees

by Buckland Wright tipped to front free endpaper, original

buckram-backed JBW patterned-paper boards, t.e.g., others

uncut, printed cream dust-jacket with cupid illustration by

Buckland Wright, very lightly spotted, short tear to upper

edge of rear wrapper neatly repaired, 8vo, 235 x 150mm.,

[privately printed for JBW Editions by A.A.M.Stols of

Maastricht], 1935. £1500 – £2000

* * * The colophon states that this poem, originally printed in

1608, “is here reprinted as a private experiment in illustration

and typography by the engraver of the plates, who offers no

other excuse for this publication.” The plates were printed

by the artist himself.

Lot 118

118. Apuleius (Lucius) th e ma R R i a g e o f Cu p i d a n d ps y C h e s,

h o R s C o m m e R C e C o p y n u m b e R 10 o n va n ge l d e R fo o l s C a p

wat e R l e a f R a g pa p e R a n d s i g n e d b y t h e a Rt i s t, from an

edition limited to 50, printed in Rosart by Joh.Enschedé en

Zonen, copper-engraved head- & tail-piece and 8 plates by

John Buckland Wright, wood-engraved bookplate of Robert

Elwell by Reynolds Stone on front paste-down, bound

in vellum, by Sangorski & Sutcliffe, t.e.g., others uncut,

buckram slip-case very slightly faded at edges, 8vo, 220 x

150mm., [privately printed for JBW Editions], 1936.

£1500 – £2000

The library of Jan van der Marck

37


38

BLOOMSBURY AUCTIONS

Lot 119

119. Mathers (E. Powys) lo v e ni g h t: a la o t i a n ga l l a n t Ry,

n u m b e R 4 o f 5 C o p i e s o n v e l l u m a n d w i t h a n e x t R a s u i t e o f

6 u n u s e d p l at e s (but unsigned), from an edition limited to

200, wood-engraved title-vignette with decorative border,

13 illustrations and tail-piece by John Buckland Wright, 10

full-page, additional plates on vellum and in pocket at end,

original vellum, by Sangorski & Sutcliffe, g.e., preserved in

grey/green morocco drop-back box ruled in gilt, spine faded,

8vo, 250 x 155mm., Golden Cockerel Press, 1936.

£4000 – £6000

Lot 120

120. Gautier (Théophile) ma d e m o i s e l l e d e ma u p i n,

translated by R. & E.Powys Mathers, n u m b e R 36 o f 50

s p e C i a l ly-b o u n d C o p i e s w i t h a n e x t R a 4 p l at e s, from an

edition limited to 500 on laid Van Gelder printed in Perpetua,

title printed in blue and black, 12 copper-engraved plates by

John Buckland Wright, original vellum, gilt, by Sangorski

& Sutcliffe, t.e.g., others uncut, spine very slightly soiled,

modern cloth slip-case, 4to, 250 x 190mm., Golden Cockerel

Press, 1938. £800 – £1200

Lot 121

121. Omar Khayyám. th e...Ru b á i y á t, translated by

Edward Fitzgerald, n u m b e R 28 o f 30 s p e C i a l ly-b o u n d

C o p i e s s i g n e d b y t h e a Rt i s t a n d o t h e R C o n t R i b u t o R s a n d

w i t h 5 a d d i t i o n a l e n g R av i n g s a n d C o l l o t y p e fa C s i m i l e s

o f fi t z g e R a l d’s t R a n s l at i o n, from an edition limited

to 300 on Arnold & Foster paper, printed in Perpetua,

8 copper-engraved plates by John Buckland Wright, 5

additional engravings and facsimiles in pocket at end, w i t h

e n g R av e d b o o k p l at e o f an t h o n y Re i d (Buckland Wright’s

bibliographer) by Buckland Wright depicting running naked

Greek athletes tipped to front pastedown, original pictorial

cream morocco, gilt, by Sangorski & Sutcliffe, t.e.g, others

uncut, spine slightly rubbed and soiled, cloth slip-case

(soiled), small folio, 310 x 185mm., Golden Cockerel Press,

1938. £1500 – £2000

* * * The additional engravings are of a more erotic nature

and do not appear in the ordinary edition.


Lot 122

122. Swinburne (Algernon Charles) hy m n to pR o s e R p i n e,

n u m b e R 2 o f 50 s p e C i a l ly-b o u n d C o p i e s w i t h a n e x t R a

e n g R av i n g, from an edition limited to 350 on Tree and Serpent

watermarked paper, printed in Caslon Old Face, woodengraved

pictorial title, illustrations and device by John

Buckland Wright, 2 full-page, w i t h e n g R av e d b o o k p l at e o f

an t h o n y Re i d by Buckland Wright of running naked Greek

athlete on front pastedown, original crushed purple morocco

with inlaid green morocco panel blocked with Aphrodite and

her cockerel in gilt on upper cover, by Sangorski & Sutcliffe,

t.e.g., others uncut, green morocco label on spine slightly

faded, small 4to, 225 x 170mm., Golden Cockerel Press,

1944. £350 – £450

Lot 123

123. Beaumont (Francis) sa l m a C i s a n d heR m a p h R o d i t u s,

edited by Gwyn Jones, n u m b e R 2 o f 30 s p e C i a l ly-b o u n d

C o p i e s s i g n e d b y t h e e d i t o R a n d a Rt i s t a n d w i t h a n e x t R a

p l at e, from an edition limited to 380 on Arnold’s unbleached

rag paper, printed in Caslon Old Face, 11 wood-engraved

illustrations by John Buckland Wright printed in colours,

8 full-page, leather book-label of Micheline & Mervyn

Parkhouse on front pastedown, original blue morocco, by

Sangorski & Sutcliffe, water-lily in gilt by JBW on upper

cover, t.e.g., uncut, spine faded, cloth slip-case, small folio,

310 x 190mm., Golden Cockerel Press, 1951.

£400 – £600

Lot 124

124. Hartnoll (Phyllis) th e gR e C i a n en C h a n t e d, n u m b e R

9 o f 60 s p e C i a l ly-b o u n d C o p i e s s i g n e d b y t h e a u t h o R a n d

a Rt i s t a n d w i t h a n a d d i t i o n a l s u i t e o f a q u at i n t p l at e s a n d

a n e x t R a o n e, from an edition limited to 360 on Arnold’s

mould-made paper, printed in Caslon Old Face, title printed

in pink and green with vignette and decorative border,

plates by John Buckland-Wright, additional plates in pocket

at end, original grey and pink morocco, gilt, by Sangorski

& Sutcliffe, fighting cocks by JBW in gilt on upper cover,

t.e.g., others uncut, spine faded, cloth slip-case (rubbed and

soiled), small folio, 310 x 190mm., Golden Cockerel Press,

1952 w i t h a R e s t R i k e o f Ca Rt h a g e f l o w e R m a R k e t p l at e,

printed on wove paper, sheet 365 x 250mm., [c.1990] (2).

£400 – £600

The library of Jan van der Marck

39


40

BLOOMSBURY AUCTIONS

Louis Jou

In France there was no parallel to the virtuoso handling

of wood-engraving of the Gregynog and Golden Cockerel

presses. Its publishers tended to keep type and illustration in

their separate places and gradually etchings and lithographs

eclipsed the wood-engraving. But there was one creator of

books who, from 1914 until the 1960s, carried the torch for

wood-engraving within the context of fine printing, Louis Jou.

A native of Barcelona he set up a printshop in Paris and was

championed by French writers. More than a hundred books

bear testimony to Jou’s typographic and illustrative genius

Lot 125

125. Machiavelli (Niccolo) le pR i n C e, Preface by André

Suarès, l e t t e R e o f 20 h o R s s é R i e C o p i e s o n va n ge l d e R,

from an edition limited to 310, printed in red and black in

fonts designed by Louis Jou, wood-engraved pictorial title,

initials and decorations by Jou, w i t h a n o R i g i n a l s i g n e d

wat e R C o l o u R d R aw i n g o f t h e a u t h o R b y Jo u bound in at

beginning, bound in brown goatskin, b y al a i n lo b s t e i n,

covers with inlaid frame of wood veneer and ruled in red,

spine titled in gilt and with five raised bands, t.e.g., others

uncut, brown suede doublures and flyleaves, original

printed wrappers bound in, signed at foot of front turn-in

but undated [1988], spine a little faded, board slip-case,

4to, 275 x 198mm., Paris, Jou & Bosviel, 1921.

£1000 – £1500

Lot 127

126. Montesquieu (Charles de Secondat, Baron de)

le t t R e s pe R s a n e s, number 72 of 200 copies on BFK de

Rives, t h i s C o p y f o R ma d e m o i s e l l e lu C i e n n e as t R u C, printed

in gold and black in Garamond Roman and Italic by the

Imprimerie Nationale, wood-engraved portrait, initials and

decorations by Louis Jou, bound in dark brown morocco,

b y al a i n lo b s t e i n, spine titled in gilt with five raised bands,

t.e.g., others uncut, marbled endpapers, original printed

cream wrappers bound in, signed at foot of front turn-in but

undated [1988], board slip-case, 4to, 260 x 200mm., Paris,

Les Bibliophiles du Palais, 1926. £400 – £600

Lot 127

127. Ronsard (Pierre de) so n n e t s p o u R hé l è n e, n u m b e R

xvii o f xx C o p i e s o n Ja p o n im p é R i a l, from an edition limited

to 278, designed and printed in red and black by Louis Jou,

leather book-label of Pierre Guerquin (Director of the

Musées Nationaux de France) with A.L.s. to him from Jou

tipped in at beginning, prospectus tipped in at end, bound in

vellum, by Adrien Lavaux, h a n d-pa i n t e d b y Jo u in R e d, b l a C k

a n d g i lt, title and author’s name on upper cover and owner’s

initials on lower in red and black with border and swirls of

vine leaves in gilt, spine titled in black, initialled by the artist

on lower cover, yapp edges, t.e.g., others uncut, original

wrappers printed in orange and black bound in, upper cover

very slightly warped, preserved in modern cloth drop-back

box [by J.Franklin Mowery], 4to, 275 x 198mm., Paris, Les

Livres de Louis Jou, 1927. £1500 – £2000

* * * Described in the prospectus as “un livre exclusivement

typographique”, this beautifully produced book foregoes

illustration and relies solely on type and ornament.


Lot 128

128. La Fontaine (Jean de) le s am o u R s d e ps y C h e & d e

Cu p i d o n, n u m b e R xxxiv o f xx C o p i e s o n Ja p o n a n C i e n

à l a f o R m e , from an edition limited to 240, designed and

printed in red, gold and black by Louis Jou, decorative

title and initials, bound in natural morocco, b y he n R i

CR e u z e va u lt, entwined initials P & C inlaid in turquoise

morocco and interspersed with ‘Psyche’ and ‘Cupidon’ in

gilt running in six rows across both boards, t.e.g., others

uncut, linen doublures and flyleaves, original decorative

wrappers bound in, signed at foot of front turn-in, spine a

little darkened, morocco-backed chemise, board slip-case,

4to, 290 x 225mm., Paris, Les Livres de Louis Jou, 1930.

£1200 – £1800

Lot 130

Lot 129

129. Pascal (Blaise) tR o i s op u s C u l e s, n u m b e R xix o f xxv

o n C h i n e p u R m û R i eR , from an edition limited to 240, printed

in red and black, decorative initials, bound in vellum, upper

cover titled in red and ruled in black, spine titled in black,

yapp edges, t.e.g., others uncut, original wrappers bound

in, board slip-case, 8vo, 210 x 140mm., Paris, Les Livres de

Louis Jou, 1932. £200 – £300

130. Montaigne (Michel Eyquem de) essais, 3 vol.,

n u m b e R xxii o f xxx C o p i e s o n Ja p o n à l a f o R m e , from

an edition limited to 185, printed in red and black, woodengraved

portraits, coats-of-arms, initials and decorations

by Louis Jou, bound in brown goatskin, b y al a i n lo b s t e i n,

covers with three inlaid frames of wood veneer and ruled

in red, spine titled in gilt and with five raised bands, t.e.g.,

others uncut, brown suede doublures and flyleaves, original

printed wrappers bound in, signed at foot of front turn-in but

undated [1988], spines a little faded, board slip-cases, 4to,

325 x 250mm., Paris, Les Livres de Louis Jou, 1934-36.

£3000 – £4000

* * * Jou’s magnum opus. He created three new fonts and

engraved a staggering number of ornaments, initials and head-

& tail-pieces etc. The project took four years and he was forced

to sell his Dürer prints and a house to finance the venture.

The library of Jan van der Marck

41


42

BLOOMSBURY AUCTIONS

Lot 131

131. Bossuet (Jacques Benigne) oR a i s o n s fu n e b R e s,

n u m b e R li o f xxxv C o p i e s o n Ja p o n im p é R i a l à l a f o R m e ,

from an edition limited to 220, wood-engraved coat-of-arms,

portrait, heraldic initials and decorations, many printed in

colours, bound in black goatskin, b y al a i n lo b s t e i n, spine

titled in palladium, top edge palladium, others uncut, red

suede doublures and flyleaves, original decorative wrappers

bound in, signed at foot of front turn-in but undated [1992],

board slip-case, 4to, 280 x 220m., Paris, Les Livres de Louis

Jou, 1939. £1000 – £1500

Lot 132

132. Carco (Francis) and Jean Cassou. no t R e am i lo u i s

Jo u, Bibliographie par Raymond Cogniat, n u m b e R 7 o f 60

C o p i e s o n hol l a n d e van gel d e R w i t h a n a d d i t i o n a l s u i t e

o f p l at e s in b i s t R e o n Ja p o n im p é R i a l, from an edition limited

to 525, printed in red and black by Coulouma using Jou’s

original blocks, wood-engraved illustrations, many fullpage,

one or two printed in brown, original printed wrappers,

uncut, spine a little browned, additional plates loose as

issued in original printed wrapper, small stain to fore-edge,

together in modern morocco-backed patterned-paper dropback

box, 4to, 330 x 260mm., Paris, M.-P.Trémois, 1929.

£250 – £350

Léon Pichon

Louis Jou was deeply embedded in the past, his contemporary,

Léon Pichon, could not have been more different. Pichon

was a puritan printer who employed others to illustrate his

books. His “typographie pure” set a trend that can be seen

in the founding of the Compagnie Typographique in 1931.

Lot 133

133. Rimbaud (Arthur) un e sa i s o n e n en f e R, number

149 of 100 copies on vergé à la cuve Van Gelder, from an

edition limited to 150, printed in red and black in Jenson,

decorative initials, list of subscribers, prospectus bound in

at end, bound in black goatskin, b y al a i n lo b s t e i n, upper

cover inlaid with three overlapping oval shapes of black cloth

embossed with jewel-like metallic spots and enamelled semicircular

metal disks at joins, palladium rules, spine titled

in palladium, t.e.g., others uncut, grey suede doublures and

flyleaves, signed and dated 2004 at foot of turn-ins, black

goatskin-backed board drop-back box, slight wear to boards

at corners, folio, 375 x 285mm., Paris, Léon Pichon, 1914.

£2800 – £3200

* * * Pichon’s first major publication at the age of thirty-seven,

was a commemorative venture underwritten by a phalanx

of France’s literary and bibliophile elite. Typographically

without equal at the time of publication, it hardly ever

appears on the market.

ex h i b i t e d: Tradition Emotion-Création. Reliures d’Alain

Lobstein, Bibliothèque historique de la ville de Paris, 2004,

p.104. Ready too late to be reproduced in the catalogue

(which contains an introduction by Jan van der Marck), this

binding, mistakenly dated 2005, was featured in its own

display case at the end of the exhibition. Lobstein fell ill and

died at the end of 2005 so this would have been one of the

last bindings to leave his atelier in Civray-le-Touraine.


Lot 134

134. Claudel (Paul) Co n n a i s s a n C e d e l‘est, o u t-o f-s e R i e s

C o p y o n Ja p o n R u s t i q u e n a C R é from an edition limited to 325

(20 on Japon), t h i s C o p y f o R t h e p R i n t e R, printed in orange

and black in Dorique, loose as issued in original printed

wrappers, glacine wrapper, uncut, original Japon-backed

glazed orange board folder, black cloth label on spine,

slightly rubbed at edges, board slip-case, 8vo, 230 x 160mm.,

Paris, Léon Pichon, 1928. £150 – £200

* * * Collection Typographie Pure III.

With the introduction in 1927 of his own typeface, ‘Dorique’,

Pichon gave up employing illustrators for books he himself

published. The term “typographie pure” may have reassured

bibliophiles that books without illustrations were worthy of

their consideration as well. ‘Collection Typographie Pure’

was a designation Pichon used in his catalogues for less than

a dozen of his publications.

Lot 135

135. Mercier (Cardinal) pat R i o t i s m e e t en d u R a n C e: le t t R e

pa s t o R a l e d e no ë l 1914, n u m b e R 1 o f 93 C o p i e s o n aR C h e s

v é l i n à l a f o R m e a n d w i t h a n a d d i t i o n a l p R o o f o f t h e

p o Rt R a i t o n Ja p o n, printed in red and black, wood-engraved

portrait, head- & tail-pieces and decorative initials by

Alfred Latour, loose as issued in original printed wrappers,

uncut, glacine wrapper, original board folder and slip-case

(both a little rubbed at edges, spine slightly faded), 4to, 330

x 250mm., Liege, Union Liégeoise du Livre et de l’Estampe

Liège, 1929. £200 – £300

Lot 136

136. Vigny (Alfred de) le s de s t i n é e s: po è m e s

ph i l o s o p h i q u e s, o u t-o f-s e R i e s C o p y [f R o m t h e p R i n t e R’s

a R C h i v e s] o n Ja p o n d e sh i d z u o k a, from an edition limited to

325 (20 on Shidzuoka), printed in red and black in Dorique,

loose as issued in original printed wrappers, glacine

wrapper, original marbled board folder and slip-case,

4to, 335 x 260mm., Paris, Léon Pichon, 1930.

£250 – £350

* * * Collection Typographie Pure V.

Lot 137

137. Poe (Edgar Allan) le Co R b e a u, précédé de la Genèse

d’un Poème par Charles Baudelaire..., n u m b e R 17 o f 20

C o p i e s o n Ja p o n im p é R i a l, from an edition limited to 325,

printed in green and black in Caslon Elzevir, loose as issued

in original printed wrappers, glacine wrapper, preserved in

modern cloth folder and drop-back box, folio, 295 x 200mm.,

Paris, Léon Pichon, 1930. £100 – £150

* * * Collection Typographie Pure VII.

The library of Jan van der Marck

43


44

BLOOMSBURY AUCTIONS

Lot 138

138. Dante Alighieri. vi ta nu o va, n u m b e R b o n Ja p o n

s u p e R n a C R é f o R lé o n pi C h o n a n d s i g n e d b y h i m, o f 10 C o p i e s

f o R C o l l a b o R at o R s, from an edition limited to 130, printed

in Caslon Elzevir Roman & Italic by Alberto Tallone, 340

x 245mm., Paris, Léon Pichon, 1933 § Pellizzari (Piero)

L’Opera Tipografica di Alberto Tallone, number 400 of 470

copies on Ventura di Cernobbio handmade paper, printed

in Garamond, 4pp. Tallone type specimen loosely inserted,

book-label of Robert Wayne Stilwell, 330 x 210mm.,

Alpignano, Alberto Tallone, 1975, both loose as issued in

original printed wrappers, uncut, glacine wrappers, board

folders, slip-cases, small folio (2). £400 – £600

* * * Vita Nuova is the thirty-five year old Tallone’s first

masterpiece but his bibliographer regrets, in 1975, that the

book is “introvabile” and that he knows of only two extant

copies, one in the family’s possession and another in a

Milanese collection.

139. La Fontaine (Jean de) él é g i e s, l e t t e R h o f 88 C o p i e s

o n Ri v e s v e R g é à l a f o R m e , printed in Garamond by Léon

Pichon, original printed pink boards, uncut, glacine wrapper

slightly creased, folio, 420 x 200mm., Paris, La Compagnie

Typographique, 1936. £150 – £200

Lot 140

140. li v R e d e l’eC C l é s i a s t e (le), n u m b e R 3 o f 25 C o p i e s o n

aR C h e s v é l i n à l a f o R m e , printed in red and black in Jenson’s

Roman, light spotting to one or two leaves, original printed

wrappers, uncut, glacine wrapper, slightly frayed at upper

edge, board slip-case, large folio, 500 x 335mm., Paris,

Léon Pichon, 1937 w i t h a n u m p u b l i s h e d s i lv e R b R o m i d e o f

pi C h o n from the Pichon family archive, mounted on card in

card folder, 235 x 175mm., Paris, Studio Iris (2).

£600 – £800

* * * Léon Pichon’s last handprinted text, chosen for its

pregnant content (“All is vanity”) and fit to be his typographic

testament.

Lot 141

141. Beckford (William) vat h e k: Co n t e aR a b e, précédé

de Beckford ou Le Démon des Fables par G.Jean-Aubry,

n u m b e R 22 o f 99 C o p i e s on Barcham Green vergé à la forme,

t h i s C o p y f o R t h e b o o k b i n d e R Re n é ki e f f e R, printed in

Fell type by John Johnson at the Oxford University Press,

original vellum-backed patterned-paper boards, t.e.g.,

others uncut, dust-jacket, glacine wrapper, board slip-case,

4to, 260 x 175mm., Paris, Les Exemplaires, 1928.

£200 – £300

* * * The one and only book this bibliophile society had

printed across the Channel. As fine a piece of printing as

there ever was, but devoid of illustration, it displeased

the majority of its members but drove others to found the

Compagnie Typographique with its sole devotion to the fine

art of printing.


Lot 142

142. Descartes (René) di s C o u R s d e l a m é t h o d e p o u R b i e n

C o n d u i R e sa R a i s o n & C h e R C h e R l a v é R i t é d a n s l e s s C i e n C e s,

n u m b e R 29 o f 88 C o p i e s on Arnold & Foster handmade vergé,

t h i s C o p y f o R Ro g e R e.lé v y, printed in Caslon Elzevir by

John Johnson at the Oxford University Press, bound in

limp vellum with society device in gilt on upper cover, yapp

edges with vellum loops and wooden bead fastenings, uncut,

original printed wrappers bound in, spine very slightly

soiled, preserved in modern cloth slip-case, 4to, 335 x

250mm., Paris, La Compagnie Typographique, 1934.

£300 – £400

* * * As with Beckford’s Vathek, John Johnson did not

disappoint his core clientele in France, but this time he

delivered his product to a uniquely focused group, the

Compagnie Typographique, and could rival the best

“typographie pure” found in France.

Lot 142

Alexandre Stols

Alexandre Stols, one of the original founders of La Compagnie

Typographique, came by the idea of “typographie pure”

quite naturally. The graphic image reinforced but never

dominated the typographic character of his books.

143. Roland Holst (A.) he t elysisCh ve R l a n g e n, 38pp.,

one of 225 copies on laid Van Gelder paper, signed by the

publisher, contemporary vellum-backed boards, with gilt

monogram of W.C.A.M. van Spaandonck by van Krimpen

on upper cover, t.e.g., original upper wrapper bound in, 240

x 170mm., 1928 § Aveline (Claude) Discours aux Statues,

24pp., one of 125 copies on Pannekoek vergé, 250 x 175mm.,

1930 § [Boutens (P.C.], “Andries de Hoghe”. Strofen en

andere verzen uit de nalatenschap, 78pp., one of 185 copies

on laid Pannekoek, printed in Romanée, 280 x 190mm.,

1932, all printed in red and black, the first two in Lutetia, the

last two both in original blue wrappers with printed label

on upper cover, all uncut, 4to, Maastricht, Halcyon Press,

A.A.M.Stols (3). £150 – £200

Lot 144

144. Gide (André) le vo ya g e d’uR i e n, n u m b e R 30 o f 30

C o p i e s o n Ja p o n im p é R i a l w i t h 2 a d d i t i o n a l s u i t e s o f p l at e s

(one with colour separations), from an edition limited to 330,

printed in red, blue and black in Lutetia, 11 wood-engraved

head-pieces by Alfred Latour, additional suites bound at

end, bound in olive green morocco, b y al a i n lo b s t e i n,

spine titled in gilt, t.e.g., others uncut, tan suede doublures

and flyleaves, original printed wrappers bound in (slightly

browned), signed at foot of front turn-in but undated [1992],

spine very slightly darkened, board slip-case, 8vo, 240 x

170mm., Maastricht, Halcyon Press, A.A.M.Stols, 1928.

£400 – £600

* * * Alfred Latour was the most typographically attuned

illustrator in France who, at the Exposition Internationale

des Arts Décoratifs in Paris in 1925, had received the grand

prize for design.

The library of Jan van der Marck

45


46

BLOOMSBURY AUCTIONS

Lot 145

145. Gide (André) la sy m p h o n i e pa s t o R a l e, number 144

of 150 copies on vergé Pannekoek, from an edition limited

to 185, printed in red, blue and black in Romanée, initials by

Alphonse Stols, bookplate of J.Maas on front free endpaper,

bound in red morocco, b y an t o n i o pé R e z-no R i e g a, figure of

running deer (from Maillol’s woodcut in the Cranach Press

‘Eglogues’) stamped in blue at foot of both boards, spine

titled in blue, uncut, blue lambskin doublures and flyleaves,

original printed wrappers bound in (slightly spotted), signed

“Antonio P.N.” at foot of front turn-in but undated [2001],

red morocco-backed blue board folder, board slip-case, 4to,

245 x 175mm., Maastricht, Halcyon Press, A.A.M.Stols,

1930. £300 – £400

Lot 146

146. Nerval (Gérard de) le s Ch i m è R e s, n u m b e R 22 o f 99

C o p i e s on Barcham Green vélin à la forme, t h i s C o p y f o R

ge o R g e s ma J o u x, printed in green and black in 17th century

type by Anton Janson, printed by A.A.M.Stols, original

green boards, gilt, uncut, dust-jacket with printed label on

upper cover, slightly browned, 4to, 285 x 190mm., Paris, La

147. Rabelais (François) pa n ta g R u e l i n e pR o g n o s t i C at i o n...,

n u m b e R xiv o f xv C o p i e s o n Ja p o n, printed in red and black

in Bembo, original printed wrappers, uncut, together with

a copy of the same on vélin à la cuve (number 19 of 85) in

modern cloth-backed board drop-back box, 220 x 140mm.,

Edition du IVe Centenaire, printed by the Halcyon Press

of Maastricht, 1933 § Constant (Benjamin de) Adolphe,

hors commerce copy from an edition limited to 125 on

G.H.Bührmann rag paper, printed in Romanée, s.h. d e

Ro o s’s C o p y w i t h h i s p e n C i l s i g n at u R e on front pastedown,

original green buckram, t.e.g., others uncut, spine faded,

225 x 140mm., The Hague, A.A.M.Stols, 1942; and another

printed by Stols, Holbrook Jackson’s Maxims of Books and

Reading, 1934, 8vo (3). £300 – £400

148. Voltaire (Francois Marie Arouet de) le t t R e s

d’al s a C e a sa n i è C e ma d a m e de n i s, n u m b e R 8 o f 88 C o p i e s

on Strathmore pure rag paper, t h i s C o p y f o R lo u i s mi C h a u d,

printed in blue and black in Garamond by A.A.M.Stols,

original pale blue cloth, gilt, uncut, with original blue

wrappers also bound in, spine a little rubbed and faded, 8vo,

200 x 120mm., Paris, La Compagnie Typographique, 1937.

£200 – £300

* * * In 1936 La Compagnie Typographique bought 105

unpublished letters from Voltaire for 90,000 francs. Stols,

who was asked to print the letters, proposed a two volume

edition but its cost was judged prohibitive and the Compagnie

settled for one volume and a smaller type face. The result

was a disaster: editing proved a nightmare, Stols was blamed

for misprints, and the size thwarted the organization’s goal

of extraordinary printing. The printer lost money, the letters

were sold back at a substantial loss and nobody was happy.

However, being the first appearance in print of these letters,

the book was highly desirable and dealers in fine Dutch

printing claim never to have laid eyes on it.

Once “typographie pure” had been introduced and gained

a following other designers and publishers, from Jan van

Krimpen and Charles Nypels in the Netherlands to Maurice

Darantière and Robert Coulouma in France, followed suit.

149. Coulouma (Robert).- Anacreon. le s odes, translated by Remy Belleau, speCial C o p y f o R Ren é-lo u i s

do y o n, o n Jap o n s u p e R n a C R é, from an edition limited to

305, printed in red, blue

and black in Garamond by

Robert Coulouma, designed

by Doyon, wood-engraved

portrait and title-vignette by

Pierre Gandon, w i t h p R o o f s

o f b o t h l o o s e ly i n s e Rt e d,

bound in half snakeskin over

rust silk boards, [b y Jon bu l l e R], spine titled in gilt,

t.e.g., others uncut, fawn

suede doublures and flyleaves,

original printed wrappers

bound in, silk slip-case, 8vo,

235 x 160mm., Paris, La

Connaissance, 1928.

£300 – £400

Compagnie Typographique, 1932. £200 – £300 Lot 149


Lot 150

150. Nypels (Charles).- Thomas à Kempis, Saint. du

m e Rv e i l l e u x e f f e C t d e l’a m o u R d i v i n e n n o u s, 22pp., n u m b e R

5 o f 150 C o p i e s on vergé Pannekoek, printed in red, blue,

yellow and black in Grotius, wood-engraved title-vignette

by Malo Renault, loose in binding, original printed yellow

wrappers, preserved in black cloth drop-back box, 160 x

120mm., Paris, La Connaissance, 1928 § van Looy (Jac.

van) Op Reis, pp.9-56, n u m b e R 39 o f 50 C o p i e s o n Ja p o n,

from an edition limited to 200, printed in red and black

in Grotius, initials by S.H. de Roos, original printed grey

wrappers, uncut & unopened, preserved in modern cloth

folder and slip-case, 240 x 170mm., [Leiden], A.W.Sijthoff’s

Uitgeversmaatschappij, 1929 § One Hundred Dutch Books

exhibited by the First Edition Club, 32pp., printed in red

and black in Erasmus-Mediaeval on Pannekoek handmade

paper, modern cloth-backed marbled boards, original upper

wrapper bound in, uncut, 185 x 125mm., 1930, all printed by

Charles Nypels, 8vo & 4to (3). £200 – £300

* * * The first, Du merveilleux effect..., one of René-Louis

Doyon’s series of publications ‘Les Bijoux Typographiques’,

ranks as Nypels’ finest small book and is rarely ever seen,

even on the Dutch market.

Lot 151

151. -.Verlaine (Paul) od e s e n s o n ho n n e u R, 46pp., o n e

o f 100 C o p i e s on vélin de Hollande Van Gelder, printed in

red and black in Médiéval Hollandais by Leiter-Nypels

of Maastricht, portrait by Paterne Barrichon, bound in

moulded black revorim, b y Je a n d e go n e t (série 4 ‘fichoirs’),

covers with horizontal bands of clothes peg shapes, boards

edged in beige calf at fore-edges, pale grey calf spine with

exposed threads and brown linen bands, uncut, original

printed wrappers bound in (slightly faded at edges), 4to, 280

x 200mm., Paris, La Connaissance, 1928. £300 – £400

Jan van Krimpen

Lot 152

152. Boutens (P.C.) gediChten...gekozen u i t ziJn ly R i s C h e

we R k va n 1894-1929, 192pp., o n e o f 25 C o p i e s o n Ja p o n

n a C R é, from an edition limited to 160, printed in red and black

in Romanée, contemporary blue morocco with Enschedé

device in gilt on upper cover, spine titled in gilt, t.e.g., others

uncut, spine faded, very slightly rubbed at edges, preserved

in modern cloth drop-back box, 4to, 280 x 180mm., Haarlem,

Joh.Enschedé en Zonen, 1930. £400 – £600

* * * Jan van Krimpen’s magnum opus of his books designed

for Enschedé.

Lot 153

153. Verhaeren (Émile) po è m e s, 184pp., n u m b e R 6 o f 83

C o p i e s on laid paper, t h i s C o p y f o R m.di g n e f f e, printed in

red and black in Lutetia by Joh.Enschedé en Zonen, original

printed wrappers, uncut, preserved in modern cloth dropback

box, 4to, 320 x 250mm., Liege, Union Liégeoise du

Livre et de l’Estampe Liège, 1930. £300 – £400

* * * Of all van Krimpen’s ‘outside’ work, a grand example of

“typographie pure”and Mr van der Marck’s favourite.

The library of Jan van der Marck

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48

BLOOMSBURY AUCTIONS

Lot 154

154. van de Woestijne (Karel) na g e l at e n ge d i C h t e n,

40pp., n u m b e R 33 o f 40 C o p i e s o n Ja p o n s u p e R n a C R é, printed

in Romanée by Joh.Enschedé en Zonen, designed by Jan van

Krimpen, original vellum-backed cloth, t.e.g., others uncut,

modern cloth slip-case, folio, 315 x 210mm., Haarlem, Joh.

Enschedé en Zonen and Brussels, A.A.M.Stols, 1931.

£300 – £400

* * * When the revered Flemish poet Karel van de Woestijne

died in 1929, his friends Alexandre Stols and Jan van

Krimpen decided to honour him, and pay off his debts, with

a lavish edition of poems he had left behind, to be sold at

a hundred guilders each. Typographically the book was a

success, economically a disaster.Today it is very scarce.

Lot 155

155. th e il i a d, translated by Alexander Pope, number

1495 of 1500 copies on Pannekoek vélin and signed by the

designer, Jan van Krimpen, printed in Romanée Roman &

Italic by Joh.Enschedé en Zonen of Haarlem, bound in black

morocco, spine titled in gilt, t.e.g., others uncut, small folio,

305 x 200mm., for Members of the Limited Editions Club,

1931. £150 – £200

* * * One of the most distinguished books published by the

LEC. Typographically it outranks its contemporaneous

Nonesuch rival (see lot 97), printed in 50 fewer copies, also

by Enschedé, but held in higher bibliophile esteem.

Lot 156

156. Boutens (P.C.) ho n d e R d ho l l a n d s C h e kwat R i J n e n,

112pp., o n e o f 30 C o p i e s o n Ja p o n s u p e R n a C R é, printed in

Romanée, bound in blue morocco with Enschedé device in

gilt on upper cover, spine titled in gilt, t.e.g., others uncut,

modern cloth drop-back box, 8vo, 200 x 120mm., Haarlem,

Joh.Enschedé en Zonen, 1932. £200 – £300

157. Mary Stuart, Queen of Scots. le s po ë m e s...a u Co m t e

d e bot h w e l l, 16pp., o n e o f 75 C o p i e s o n Ja p o n s u p e R n a C R é

for members of La Compagnie Typographique, printed in

blue and black, original printed cream wrappers, uncut,

144 x 102mm., Haarlem, Joh.Enschedé en Zonen, 1932 §

Voltaire (F.M. Arouet de) Candide ou l’Optimisme, 178pp.,

n u m b e R 75 o f 88 C o p i e s on handmade Barcham Green,

original cloth with device in red and gold on upper cover,

original wrappers also bound in, uncut, 175 x 110mm.,

Paris, La Compagnie Typographique, 1932 § Vergé (Patrice)

La Compagnie Typographique, one of 400 copies on vélin

d’Arches, printed in green and black, loose as issued in

original printed wrappers, uncut, slip-case, n.p., 1995, the

first two printed in Romanée by Joh.Enschedé en Zonen and

together in modern cloth drop-back box , v.s. (3).

£350 – £450

* * * Mary Stuart’s Poems was sent out by van Krimpen to the

members of ‘La Companie Typographique to fend off their

unhappiness about the delay in the contracted publication

of Voltaire’s Candide. Beautiful but physically slight, this

Christmas present was not well understood as integral to the

Compagnie’s offerings and therefore fewer copies survive

than of Candide following on its heels.

158. Orléans (Charles, Duc d’) Ch a n s o n s, 8pp., o n e o f

?6 C o p i e s p R i n t e d for friends of Jean Bourcier, t h i s C o p y f o R

t h e a Rt i s t al b e Rt de C a R i s a n d s i g n e d b y bo u R C i e R, printed

in red and black in 16th century type on Japon Impérial,

original grey wrappers with printed label on upper cover,

slightly faded, 4to, 240 x 160mm., Haarlem, privately printed

[by Jan van Krimpen at Joh.Enschedé en Zonen], 1935.

£100 – £150


Lot 158

Maurice Darantière

The three men of genius by whom French typography in

the first half of the 20th century was indelibly marked, were

Léon Pichon in Paris, Marius Audin in Lyons and Maurice

Darantière in Dijon and Paris. Audin did not care much

about “typographie pure”; Darantière on the other hand, was

a master at it, like Pichon.

159. le ba n q u e t, translated by Mario Meunier, 190pp.,

n u m b e R 1 o f 8 C o p i e s o n v e l l u m, from an edition limited to

133, t h i s C o p y f o R dR.ga s t o n Ro u s s e l, printed in gold and

black in Caslon Elzevir by Maurice Darantière, bound in

cream morocco, b y he n R i CR e u z e va u lt, covers with deep

parallel wavy lines in blind, spine titled in gilt, g.e., linen

doublures and flyleaves, original wrappers printed in gold

bound in, signed at foot of front turn-in, spine lightly browned,

brown morocco-backed card chemise, spine a little faded,

board slip-case (rubbed), 4to, 300 x 250mm., [Paris], Les

Éditions du Raisin, 1935. £1500 – £2000

* * * A glorious example of ‘“typographie pure”, matched

only by Louis Jou’s Sonnets pour Hélène, 1927 (lot 127),

Léon Pichon’s Patriotisme et Endurance, 1929 (lot 135),

Jan van Krimpen’s Poèmes d’Émile Verhaeren, 1930 (lot

153), Alberto Tallone’s Vita Nouva, 1933 (lot 138) and John

Johnson’s Descartes, 1934 (lot 142).

Lot 159

Lot 160

160. Ca n t i q u e da m o u R divin e n t R e ie s u s Ch R i s t e t la m e

de v o t e, one of 250 copies on vergé pur chiffon, t h i s C o p y

n u m b e R 1 f o R an n e t ba d e l, printed in red and black in

Romain du Roy type engraved by Grandjean in 1692,

printed by the Imprimerie Nationale under the direction of

Maurice Darantière, 2 front free endpapers torn and neatly

repaired, bound in limp black vellum sewn with alum-tawed

cords visible at joints and ties, b y J.fR a n k l i n mo w e R y , spine

titled in gilt, original printed upper wrapper bound in, black

cloth drop-back box with paper label on spine repeating title

from gilt spine, 4to, 270 x 210mm., [Paris], Les Éditions du

Raisin, 1944. £300 – £400

The library of Jan van der Marck

49


50

BLOOMSBURY AUCTIONS

Dutch Clandestine Publishing

Typically for books printed during the German occupation

of France, the last page of Darantière’s St.Jean de la

Croix lists the authorizations obtained. Paper was scarce

and censorship unforgiving so, with a few exceptions, the

production of books for bibliophiles came to a halt. The

Dutch, however, went underground with their books or

cleverly dodged the rules. Dirk de Jong’s Het Vrije Boek

in Onvrye Tijd (Seithoff, 1958) lists no fewer than 1019

clandestine literary publications, many of bibliophile

interest. Charles Nypels and Jan van Krimpen designed 12

books each but Alexandre Stols set a record with no less than

64 clandestine publications.

Lot 161

161. Rilke (Rainer Maria) six le t t R e s à a.a.m.st o l s,

16pp., fiRst e d i t i o n, n u m b e R 86 o f 97 C o p i e s on handmade

Barcham Green signed by the publisher, t h i s C o p y f o R ma Ry

bu C k l a n d wR i g h t w i t h s i g n e d n o t e in m a n u s C R i p t b y st o l s

o n C o l o p h o n, printed in Lutetia, original blue wrappers

with printed label on upper cover, uncut, preserved in grey

silk-backed folder and silk slip-case, 8vo, 230 x 150mm.,

[Maastricht, A.A.M.Stols], 1927 [1943]. £200 – £300

* * * Stols’ handwritten note on the colophon explains that the

date of December 21, 1927 is false and that this “plaquette”

was printed by him in 1943.

Lot 162

162. Rimbaud (Arthur) le s ma i n s d e Je a n n e ma R i e, 8pp.,

o n e o f 50 C o p i e s, printed in Lutetia, 1943 § Giraudoux (Jean)

Hommage à Marivaux, 16pp., o n e o f 50 C o p i e s, Bodoni,

1943 § Fargue (L.-F.) Bagatelle sur la beauté, 16pp., o n e

o f 60 C o p i e s, Médiéval Hollandais, lithograph plates by

Rose-Yvonne d’Alcomare, 1943 § Montherlant (H. de) Notes

de Théâtre, 16pp., o n e o f 50 C o p i e s, Garamond, 1943 §

Vilallonga (Luis de) Rilke, ce faible héroïque, 20pp., o n e o f

150 C o p i e s, Erasme, portrait by E.A.Hof, 1944 § Baudelaire

(C.) Conseils aux Jeunes Littérateurs, 24pp., o n e o f 150

C o p i e s on vélin de Hollande teinté, Lutetia, 1944, all but the

last on laid Hollande and initialled ‘P.M.’ by Stols, all titles

with decorative border in colour (the last gold), original

printed wrappers repeating title, uncut, the last lightly

marked, together in modern cloth drop-back box, 8vo, 175 x

110mm., printed by Claude Sézille of Paris for the account

of Pierre Mangart à Rosières, Picardie, [A.A.M.Stols of

Maastricht] (6). £300 – £400

* * * Claude Sézille and Pierre Mangart were fictitious names

used by Stols in10 publications printed at the Drukkerij Trio

of The Hague, the best 6 of which are collected here. Most

of these pamphlets were smuggled to France where they

found eager buyers. The censors must have been confused

for there is no evidence that Stols fell foul of the occupiers.

However, he was arrested in June 1944 and detained for two

months, presumably because Halcyon, his typographical

periodical, excluded contributions from German authors or

Dutch collaborators.

163. Seghers (Pierre)

le Chien d e pique, 72pp., fiRst e d i t i o n,

n u m b e R 29 o f 50 C o p i e s

o n ho l l a n d e va n Rh y n,

from an edition limited

to 1160, t h i s C o p y s i g n e d

a n d i n s C R i b e d b y t h e

a u t h o R “a mo n s i e u R l e

Lot 163

do C t e u R Je a n sav e l l i av e C l e s s e n t i m e n t s l e s m e i l l e u R s d e

se g h e R s” on half-title, modern grey silk-backed green boards,

original upper wrapper in green and black bound in, silk slipcase,

250 x 180mm., Neuchatel, Ides et Calendes, printed by

Henri Messeiller, 1943; Richaud du Comtat, 16pp., Pour les

Amis du Chien de Pique, 1944 § Alain-Fournier (Henri) La

Femme Empoisonnée, 12pp., A.A.M.Stols & Pierre Seghers,

1944, the last two each o n e o f 15 h o R s C o m m e R C e C o p i e s from

editions limited to 50, on laid Hollande, both printed in red

and black in Romulus, the last with the ‘Nous Trois’ threefingered

device, both original printed wrappers, uncut,

modern grey silk-backed board folders, silk slip-cases, 175

x 110mm., [printed by A.A.M.Stols at The Hague], 4to & 8vo

(3). £300 – £400

* * * The French poet and publisher Pierre Seghers had befriended

Stols before the war. His Richard du Comtat was published by

Stols in first edition during the occupation in a very limited

number. The two publishers together, from Holland, launched a

rarissime first edition of an unpublished text by Alain-Fournier

that has been located by their mutual friend Edmond Laloux.

The latter was one of the trio that included Stols and the Paris

bookdealer Lucien Jais, whose copies bore a hand with three

fingers and the motto “Pour Nous Trois”.


164. qu o u s q u e ta n d e m? 15 vol., a C o m p l e t e s e t o f t h e

s e R i e s, each one of 525 copies, some printed in black and

colours, original wrappers, printed or with printed label

on upper cover, uncut, together in modern cloth box, v.s.,

[Amsterdam], De Bezige Bij, 1943-44.

£300 – £400

* * * Published by Charles van Blommestein and Geert

Lubberhuizen of De Bezige Bij [The busy bee] to aid

the resistance movement under the series title Quousque

Tandem? [How much longer?]. Proceeds went to the ‘Fund

for special needs’, many of the contributing authors and

artists chose pseudonyms.

Comprising:

[Kok (Maurits)], “Hector Mantinga”. De Zeven Hoofdzonden,

28pp., printed on Hollande Van Gelder Ingres, Bodoni type,

wood-engravings by G.J.Machin [W.J.Rozendaal], 4to,

[1943].

Roland Holst (Alain) In Memoriam Charles Edgar du Perron

et Menno ter Braak, 28pp., laid Van Gelder, Garamond, 8vo,

[1944].

[Kok (Maurits)], “Hector Mantinga”. De Vader Spreekt,

24pp., Simili-Japon, Médiéval Hollandais, wood-engravings

by Freek Meering [Tjomme de Vries], 4to, [1944].

Omar Khayyam. Kwatrijnen, translated by Ponticus

[H.W.J.M.Keuls], 36pp, tinted Van Gelder, Egmont, collotype

plates from original copper engravings by John Buckland

Wright [reproduced from the 1938 Golden Cockerel Press

edition], sm. folio, 1944.

Holst (A.Roland) Eigen Achtergronden, 36pp., Antique Van

Gelder, Baskerville, 8vo, [1944].

[Blijstra (Reinder)], “R. van Harlingen”. Bij nadere

Kennismaking, 56pp., Simili-Japon, Bodoni, 8vo, 1944.

van Schendel (Arthur) Sparsa, 52pp., vergé Van Gelder,

Garamond, 8vo, [Stols], [1944].

[Geyl (Pieter)], “A. v.d.Merwe”. Het Wachtwoord, 48pp.,

vergé Van Gelder, 8vo, 1944.

Verhoeven (Bernard) Pax Hominibus, 40pp., Haesbeek

Imperium, Garamond, 12mo, [J.R. van Rossum], [1944].

[Leiker (Sjoerd Pieter)], “Menno van Haarsma”. Drie

Getuigen, 136pp., Hollande Antique Van Gelder, Médiéval

Hollandais, 4to, [1944].

[Asselbergs (Willem), “Anton van Duinkerken”], “Pieter

Bakx”. Prieel in Troje, 20pp., Simili-Japon, Bodoni, woodengravings

by Theo Mijdrecht [Thijs Mauve], [1944].

[van der Woude (Johan)], “Martijn Cort”. Zeven brieven,

68pp., vélin d’Hollande, Italic, 12mo, [F.Tamminga, The

Hague], 1944.

de Vries (Hendrik) Robijnen, 32pp., printed in red on laid

yellow paper, 8vo, [1944].

[Pannekoek (Egbertus)], “Ferdinand Langen”. Achter slot

en grendel, 72pp., Simili-Japon, Nobel sans serif, [1944].

[Bordewijk (Ferdinand)], “Emile Mandeau”. Verbrande

Erven, 64pp., laid Van Gelder, illustrations by Jan Rap

[J.M.Prange], 1944.

Lot 164

165. Vijf Ponden Pers.- Mallarmé (Stéphane) l’ap R è smi

d i d’u n fa u n e: ég l o g u e, 8pp., o n e o f 50 C o p i e s, printed

in Lutetia, frontispiece by Melle Oldenboerrichter, bookplate

of Hendrik Jan Scheepmaker, 150 x 90mm., 1942 § Rimbaud

(A.) Le Bateau Ivre, 8pp., printed in Fleischman on

Hollande Van Gelder, 262 x 190mm., 1942 § Perk (Jacques)

Eene Helle- en Hemelvaart Sonnettenkrans ,16pp., printed

in red and black in Meidoorn on Barcham Green laid paper

by J.F.Duwaer & Zonen, 185 x 160mm., 1940 § van der

Noot (J.) Ode..., 16pp., printed in ‘caractères de civilité’

on Barcham Green vélin, 152 x 100mm., 1944 § Nashe

(Thomas) In Time of Plague, 8pp., printed in Romanée on

Barcham Green vélin, 195 x 110mm., 1945, each o n e o f 50

o R 55 C o p i e s, all but the third printed by Jan van Krimpen

at Joh.Enschedé en Zonen, original wrappers with printed

label on upper covers, uncut, together in modern cloth dropback

box, v.s., Amsterdam, [Vijf Ponden Pers] (5).

£400 – £600

* * * The most elegant clandestine printing bore the stamp of

Jan van Krimpen. The German authorities had decreed, in

terms of paper use, that any quantity over five pounds had to

be accounted for. Thus the ‘Vijf Ponden Pers’ (‘5lb Press’)

was established in 1942 by the linguist W.G.Hellinga and

the publisher A.A.Balkema using van Krimpen as designer

and printer. They had published twenty pamphlets, generally

in editions of 50 or 55 copies, by the end of the war, of which

these represent the cream in outstanding condition.

The library of Jan van der Marck

51


52

BLOOMSBURY AUCTIONS

Lot 166

166. -. Baudelaire (Charles) le vin: Cinq Poëmes choisis

dans Les Fleurs du Mal, 24pp., o n e o f 55 C o p i e s on Ossekop

Van Gelder signed by the artist, printed in Romanée by Jan

van Krimpen at Joh.Enschedé en Zonen, etched illustrations

by Jeanne Bieruma Oostling, original blue wrappers with

printed label on upper cover, uncut, preserved in modern

grey silk-backed board folder, silk slip-case, folio, 385 x

260mm., Amsterdam, [Vijf Ponden Pers], 1943.

£200 – £300

Lot 167

167. -. [Sandberg (Willem)] ex p e R i m e n ta ty p o g R a f i C a

3: gn o t i se au t o n, 32pp., o n e o f 100 C o p i e s on vergé de

Hollande, printed in blue, red, purple and black by J.F.Duwaer

en Zonen, original grey fibre wrappers, upper cover marked

with rusty ‘2’, preserved in modern cloth-backed boards,

cloth slip-case, 8vo, 215 x 150mm., [Amsterdam]. Vijf

Ponden Pers, 1945. £300 – £400

* * * A radical departure from the usual style of the press,

Gnoti se Auton is a seminal document for the Dada-inspired

typography of the future director of the Stedelijk Museum

in Amsterdam, who played an important role in the Dutch

resistance.

168. va n d e n vo s Re y n a e R d e, edited from the Comburg

manuscript by W.G.Hellinga, 138pp., one of 200 copies,

printed in red and black in the original type of Peter

Schoeffer von Gernsheim by Meijer in Wormerveer, 190 x

110mm., 1940 [1944] § Herakleitos. Fragmenten, 48pp., o n e

o f 100 C o p i e s, text in Greek and Dutch, printed in Antigone

and Lutetia by Joh.Enschedé en Zonen, 200 x 130mm.,

1944, both on Hollande Van Gelder and designed by Jan

van Krimpen, original wrappers with printed label on upper

cover, uncut, 8vo, Amsterdam, A.A.Balkema (2).

£150 – £200

169. Paulhan (Frédéric) Ré f l e x i o n s, 64pp., o n e o f 100

C o p i e s on Hollande Pannekoek, wood-engraved bookplate of

T.F.Lemaire by W.J.Rozendaal on front free endpaper, loosely

inserted Pc. photograph of WW1 soldiers marching with

“F.P. Reproduction Interdite” stamped on verso, original

printed wrappers, uncut, spine browned, a little marked

and creased at edges, modern silk folder and slip-case, 150

x 120mm., Les Éditions de le Bête Noire, [A.A.Balkema],

[1944] § Morison (Stanley) First Principles of Typography,

36pp., printed by Joh.Enschedé en Zonen, original buckram,

gilt, 190 x 110mm., Amsterdam, [A.A.Balkema, Vijf Ponden

Pers], 1949 § Wilde (Oscar) Salomé, 80pp., one of 175

copies on Van Gelder Ingres, printed in red and black in

Lutetia by Joh.Enschedé en Zonen, 7 engraved plates by

Jean-Paul Vroom, original vellum-backed pictorial cloth,

gilt, t.e.g., others uncut, 260 x 165mm., Utrecht, Société de

Roos, 1949, 12mo & 8vo (3). £250 – £350

Lot 170

170. Arp (Jean) Ri R e d e Co q u i l l e, 16pp., n u m b e R 87 o f 75

C o p i e s on Hollande Van Gelder, from an edition limited to

100, printed in red, blue and black by J.F.Duwaer en Zonen,

4 illustrations by Sophie Taeuber-Arp, bound in moulded

black revorim, b y Je a n d e go n e t (série 5 ‘plaque d’égout’),

upper cover with part of beige calf circular inlay stamped

in red with ‘Jean de Gonet Artefacts 1989’, grey calf spine

with exposed threads and brown linen bands, uncut, signed

and numbered 132/200 at foot of front pastedown, original

printed blue wrappers bound in (very slightly browned), 4to,

235 x 170mm., Amsterdam, 1944. £350 – £450


Lot 171

171. van Krimpen (Jan).- bo o k o f ps a l m s (th e), 264pp.,

one of 175 copies on Barcham Green signed by the designer/

printer, printed in Romanée by Jan van Krimpen at Joh.

Enschedé en Zonen, bookplate of J.A.Hoekstra, original half

morocco, t.e.g., spine very slightly faded, 8vo, 240 x 150mm.,

Utrecht, Stichting De Roos, 1947. £150 – £200

Lot 172

172. Sandberg (Willem) Nu: iN t h e m i d d l e o f t h e XXt h

c e N t u ry, 36pp., 1959; Nu 2, 120pp., 1968 o N e o f 100

c o p i e s, together 2 works in 1 vol., text in French, Dutch,

English and German, printed in black and colours on a

variety of papers, colour lithograph illustrations, the second

with tear to one leaf across lower outer corner (no loss),

bound together in moulded black revorim, b y Je a N d e Go N e t

(série 4 ‘fichoirs’), covers with horizontal bands of clothes

peg shapes, boards edged in beige calf at fore-edges, beige

calf spine with exposed threads and brown linen bands,

uncut, original printed wrappers bound in 4to, 250 x

250mm., Hilversum, Steendrukkerij de Jong & Co.

£400 – £600

* * * Development of Sandberg’s “experimenta typografica”

started during the war (see lot 167).

The library of Jan van der Marck

53


54

173. al s o sp r a c h Za r at h u s t r a: Ein Buch für Alle und

Keinen, number 456 of 530 copies on Insel wove paper,

printed in dark red, gold and black by W.Drugulin of

Leipzig, text in type designed by Georges Lemmen and cast

under the supervision of Harry Kessler, decorative doublepage

additional title, main title with ornament, 4 full-page

decorative part-titles and 4 tail-pieces all printed in dark red

and gold, gilt decorations throughout, all by Henry van de

Velde, original vellum with gilt geometric design on upper

cover and title on spine within ornamental frame by van de

Velde, yapp edges, t.e.g., others uncut, endpapers with gilt

decorative border, preserved in modern board slip-case by

J.Franklin Mowery, folio, 370 x 245mm., Leipzig, Insel-

Verlag, 1908. £1500 – £2000

* * * “In 1901 Henry van de Velde was invited by the Grand

Duke of Saxe-Weimar to head the Weimar School for Arts

and Crafts, the predecessor of the Bauhaus, and he remained

active and influential in Germany for many years. ‘Also

Sprach Zarathustra’ is his most monumental book design...

The full-page designs are bold and dynamic, dramatically

printed in deep reddish-purple and gold. Contrasting with

these forceful pages are the typographical ones, with

Van de Velde’s small gold designs forming a geometric

framework for Lemmen’s type. Henry van de Velde was

closely associated with Harry Kessler and designed books

for his Cranach Press and furniture for his house.” The Turn

of a Century 1885-1910 : Art Nouveau-Jugendstil Books,

Houghton Library, 1970.

eX h i b i t e d: Decorative Arts 1900, Detroit Institute of Arts,

1993, cat.128

BLOOMSBURY AUCTIONS

❦ Germany

Lot 173

Lot 174

174. Schlegel (Friedrich) lu c i N d e: eiN ro m a N, edited by

Julius Meier-Graefe, N u m b e r V o f 50 c o p i e s o N Ja p o N, from

an edition limited to 200, t h i s c o p y f o r ha N s ri t t e r V o N

Gu t m a N N a N d w i t h a N o r i G i N a l p e N a N d i N k d r aw i N G (f o r

p.38), a N a d d i t i o N a l s u i t e o f p l at e s o N Ja p o N a N d a N o t h e r

s u i t e o f i l l u s t r at i o N s a N d d e c o r at i o N s, designed by Emil

Rudolf Weiss and printed at the Spamersche Buchdrukerei

of Leipzig, woodcut frontispiece, title-vignette, 15 full-page

illustrations, head-pieces and initials by Walter Teutsch,

a few repeated, original vellum, spine titled in gilt, t.e.g.,

others uncut, additional woodcuts all signed in pencil,

drawing creased across centre where previously folded, all

loose in paper folders, together with book in modern vellumbacked

cloth drop-back box, 4to, 280 x 225mm., Munich,

Verlag der Marées-Gesellschaft, R.Piper & Co., 1919.

£400 – £600


175. Ge r m a N i a a N i h r e ki N d e r,

12pp., number 146 of 200

copies on rag paper, printed

in red and black in Ehmcke

Schwabacher & Fraktur by

Walther C.F.Hirth under the

supervision of F.H.Ehmcke,

original vellum, spine titled

in gilt, t.e.g., others uncut,

oak-leaf and acorn patternedpaper

endpapers, preserved

in modern cloth drop-back

box with flap, 4to, 220 x 180mm., Munich, Rupprecht Presse,

1921. £200 – £300

176. re i N e k e fuchs, translated from German

dialect into high German

by D.W.Soltau, N u m b e r 5

o f 150 c o p i e s s i G N e d b y t h e

a rt i s t on Zanders rag paper,

printed in Fraktur designed

by F.W.Kleukens and cast

by D.Stempel AG Foundry

in Frankfurt, printed by

Kleukens with illustrations

by him hand-coloured by

Paula Kleukens-Raitz von

Frentz, original vellumbacked

boards with title

and vignette in gilt on upper

cover, spine gilt, t.e.g., others uncut, very slight wear to

corners and fore-edge, modern cloth slip-case, small folio,

300 x 210mm., Darmstadt, Ratio-Presse, 1929.

£250 – £350

* * * The book was dedicated to the memory of the foundry

owner, David Stempel; tipped into this copy is a printed

presentation from Hans and Marga Stempel (David’s son

and daughter-in-law) to “Herrn und Frau Direktor August

Wolf...1939”, the Munich publisher.

Lot 178

Bremer Press

177. Öd i p u s d e r ty r a N N, translated by Friedrich Hölderlin,

number 109 of 270 copies on handmade paper, endpapers

browned and lightly spotted, original half vellum over

marbled boards, by the Bremer Binderei, spine titled in gilt,

uncut, slightly rubbed at edges, 8vo, 270 x 170mm., Toelz,

Bremer Press, 1919. £150 – £200

178. Augustine (Saint, Aurelius Augustinus, of Hippo) de

ciVitate d e i l i b r i XXii, edited by Carl Weyman, number

318 of 385 copies on Zanders mould-made paper, printed in

Antiqua, title and initials by Anna Simons, bound in black

goatskin, b y J.fr a N k l i N mo w e r y , covers ruled in blind

in concentric arcs around a central gilded oval with four

gilded lines radiating at right angles in the form of a cross,

letters of author and title cut deeply into oval on upper cover

and gilded, spine ruled with arcs in blind like boards and

with gilded square incorporating deep-cut author and title,

graphite top edge, signed “JFM ‘97” at foot of rear turnin,

black cloth drop-back box, gilt-stamped black goatskin

label on spine, folio, 340 x 240mm., Munich, Bremer Press,

1925. £1500 – £2000

* * * At the time of its completion, the binder commented in

writing, “I consider this one of the finest bindings and bookspecific

designs I have created to date.”

eX h i b i t e d: The Fine Bindings of J.Franklin Mowery,

Washington, D.C., 2007, pp.18-19

The library of Jan van der Marck

55


56

BLOOMSBURY AUCTIONS

Lot 179

179. Aeschlyus. pr o m e t h e u s de s m o t e s, edited by Albert

Rehm, number 152 of 270 copies on Zanders mouldmade

paper, Greek text printed in newly-designed type, 18

woodcut illustrations by Ludwig von Hofmann, bound in

tan goatskin, b y J.fr a N k l i N mo w e r y , covers ruled in blind

with bands of irregular lines and author and title in blind on

upper cover, borders of thin onlaid strips of black goatskin,

spine titled in black and with four raised bands, blind rules

and onlaid black strips, uncut, tan suede doublures, orange

fibrous paper flyleaves, signed “JFM ‘98” on rear turn-in,

board slip-case, small 4to, 275 x 185mm., Munich, Bremer

Press, 1926. £1500 – £2000

Lot 180

180. Pascal (Blaise) pe N s é e s, edited by Léon Braunschweig,

number 58 of 270 copies on Zanders mould-made paper, title

designed by Anna Simons, original vellum, gilt, by Frieda

Thiersch of the Bremer Binderei, spine gilt, t.e.g., others

uncut, spine slightly soiled, modern cloth slip-case, small

folio, 290 x 200mm., Munich, Bremer Press, 1930.

£200 – £300

Cranach Press

Lot 181

181. Valery (Paul) Ge d i c h t e, translated by Rainer Maria

Rilke, number 353 of 400 copies on mould-made paper

from an edition limited to 450, designed by Harry Kessler

and Georg A.Mathey and printed in Caslon Antiqua at the

Cranach Press by Max Kopp and Erich Hillhoff, title and

imprint at end printed in red, opening initial in red by Eric

Gill, original vellum-backed turquoise boards, decorative

initial V by Gill in gilt on upper cover, spine titled in gilt, t.e.g.,

others uncut, modern cloth slip-case, 4to, 268 x 184mm.,

Leipzig, Insel Verlag, 1925. £350 – £450

Lot 182


182. Vergilius Maro (Publius) le s éG l o G u e s, translated by

Marc Lafargue, N u m b e r XXii o f XXXVi c o p i e s o N ke s s l e r-

ma i l l o l s i l k r a G pa p e r a N d w i t h 2 a d d i t i o N a l s u i t e s o f t h e

w o o d c u t s o N Ja p o N (o N e p r i N t e d iN r e d, o N e iN b l a c k), from

an edition limited to 292, text in Latin and French, designed

by Harry Kessler, printed in type modelled on Nicolas

Jenson’s Venetian Antiqua of 1470 and cut on punches by

Edward Prince, colophon in italic by Edward Johnston, title

and initials designed and cut by Eric Gill with ornaments

of letters designed and cut by Aristide Maillol, 43 woodcut

illustrations by Maillol, additional suites bound at end, t h e

first w o o d c u t o f t h e s u i t e iN r e d i N i t i a l l e d iN p e N c i l b y

ma i l l o l, occasional light spotting, bound in pink calf, b y

Ge o r G e s cr e t t é, tooled with swirling intersecting lines in

gilt across both boards and spine, spine titled in gilt, t.e.g.,

others uncut, brown moiré silk doublures and flyleaves,

original printed wrappers bound in, signed “G.Cretté succ.

de Marius Michel” at foot of front turn-in, edges of flyleaves

slightly faded, calf-backed card chemise, board slip-case

(very slightly rubbed at edges), 4to, 325 x 240mm., Weimar,

Cranach Press, 1926. £6500 – £7500

* * * The colophon calls for only one additional suite for the

36 copies on silk rag but there was obviously a change of

plan; the upper wrapper for the additional plates describes

two suites.

The binding is described and reproduced in the Catalogue

des Reliures de Georges Cretté, Toulouse, Arts et Formes,

1984, no.613.

Lot 182

183. Rilke (Rainer Maria) du i N e s e r el e G i e N; el e G i e s f r o m

t h e ca s t l e o f du i N o, translated by V. & Edward Sackville-

West, number 121 of 230 copies on handmade Maillol-

Kessler paper and signed by the translators, text in English

and German, designed by Harry Kessler, printed in red and

black in Edward Johnston italic cut by E.Prince & G.T.Friend

and printed at the Cranach Press, wood-engraved initials by

Eric Gill, bound in black calf, b y J.fr a N k l i N mo w e r y , title

in blind running continuously across both covers and spine,

author in gilt on spine, graphite top edge, others uncut,

signed “JFM 90” at foot of rear turn-in, silk-lined cloth

chemise with gilt-stamped black calf label on spine, board

slip-case, 8vo, 255 x 150mm., Hogarth Press, 1931.

£1200 – £1800

* * * eX h i b i t e d: Contemporary American Bookbinding,

Bibliothèque de l’Arsenal, Paris; Bibliotheca Wittockiana,

Brussels; The Grolier Club, New York, 1990-1991, no.73

Lot 183

The library of Jan van der Marck

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58

184. ca N t i c u m ca N t i c o r u m sa l o m o N i s..., number 65 of 200

copies on Maillol handmade paper, from an edition limited

to 268, designed by Harry Kessler, printed in red and black

in Jenson Antiqua, 11 wood-engraved illustrations and

initials by Eric Gill, 7 full-page, bound in black goatskin,

b yJ.fr a N k l i N mo w e r y , both covers stamped in blind with

rectangular panel of sinuous ‘ropes’ between horizontal rules

across boards and spine, spine titled in gilt and with four

raised bands, graphite top edge, others uncut, signed “JFM

‘91” at foot of rear turn-in, board slip-case, tall narrow 8vo,

260 x 130mm., [Weimar, Cranach Press], 1931.

£1500 – £2000

BLOOMSBURY AUCTIONS

Lot 184

185. fo u r Go s p e l s (th e), introduction by Ernest Sutherland

Bates, number 1288 of 1500 copies initialled by the artist,

printed in red, blue and black, illustrations and decorations

by Emil Rudolf Weiss, original vellum-backed boards, uncut,

spine titled in gilt (lettering a little worn), 4to, 240 x 190mm.,

[printed by Poeschel & Trepte of Leipzig] for Members of

the Limited Editions Club, 1932. £80 – £120

Lot 185


Officina Bodoni

Lot 186

186. Shelley (Percy Bysshe) ep i p s y c h i d i o N, one of 222

copies on wove paper, printed in grey and black in Bodoni

types, very light browning to edges, original vellum, gilt,

uncut and unopened, modern cloth slip-case, 4to, 290 x

200mm., Montagnola, Officina Bodoni, 1923.

£200 – £300

Lot 187

187. Dante Alighieri. th e di V i N e co m e d y, translated

by Melville Best Anderson, number 46 of 1500 copies on

San Marco wove paper and signed by the printer Hans

Mardersteig, original patterned Fortuny silk, gilt-stamped

silk label on spine, folio, 320 x 200mm., Verona, [printed by

the Officina Bodoni] for the Limited Editions Club, 1932.

£180 – £220

❦ Italy

Lot 188

188. Bontempelli (Massimo) Vi a G G i o d’eu r o pa, number 5

of 148 copies on Fabriano handmade paper and signed by

the artist, from an edition limited to 175, printed by Hans

Mardersteig at the Officina Bodoni, 23 lithograph plates and

illustrations by Arturo Martini, leather armorial bookplate

of Prof. Cesare Grassetti, original vellum-backed marbled

boards, spine titled in gilt, t.e.g., others uncut, marbled board

slip-case (very slightly rubbed at edges), folio, 395 x 285mm.,

Milan, Edizioni della Chimera, [1942]. £1000 – £1500

* * * The sculptor Arturo Martini provided Mardersteig with

one of the finest books that have come off his press and one

rarely encountered in the market.

Lot 189

189. Valéry (Paul) le ci m e t i è r e ma r i N; th e Gr aV e ya r d

b y t h e se a, translated by C. Day Lewis, 24pp., number

52 of 500 copies on Fratelli Magnani and signed by the

translator, text in English and French, printed in red and

black in Arrighi Cancelleresca by Hans Mardersteig at the

Officina Bodoni, original marbled wrappers with printed

paper label on upper cover, uncut, w i t h o r i G i N a l p u b l i s h e r’s

e N V e l o p e w i t h t i t l e a N d limitatioN N u m b e r s ta m p , preserved

in modern morocco-backed marbled board drop-back box,

8vo, 230 x 150mm., Martin Secker & Warburg, 1946.

£200 – £300

The library of Jan van der Marck

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60

a 190. Vergilius Maro (Publius) le Ge o r G i c h e, translated

by Giulio Caprin, number 70 of 165 copies on Fabriano

wove paper, printed by Giovanni Mardersteig at the Officina

Bodoni of Verona, etched pictorial half-title, title-vignette,

frontispiece, 9 plates and 8 head- & tail-pieces by Giacomo

Manzù, frontispiece signed in pencil, A.L.s. from Giovanni

Mardersteig to Colin Franklin thanking him for his

hospitality loosely inserted, bound in tan goatskin, b y iV o r

ro b i N s o N, tooled in gilt with lines and irregular rectangular

shapes across both boards and spine, irregular pentagonal

light brown goatskin inlay at upper edge of upper cover,

spine titled in gilt, g.e., olive green suede doublures and

flyleaves, signed and dated 1968 at foot of rear doublure,

tan cloth drop-back box, spine with gilt-stamped goatskin

label and other leathers, folio, 380 x 270mm., Milan, Ulrico

Hoepli, [1948]. £3000 – £4000

* * * The binding was commissioned by Anthony Fair.

eX h i b i t e d: Modern British Bookbindings, Designer

Bookbinders, London; Pierpont Morgan Library, New

York; Newberry Library, Chicago; University of California

Research Library;Victoria and Albert Museum, 1971-72,

no.36

Ivor Robinson Retrospective Exhibition, Prescote Gallery,

Oxfordshire, 1981.

BLOOMSBURY AUCTIONS

Lot 190

Lot 190


Lot 191

191. Ungaretti (Giuseppe) cr o a Z i a se G r e ta, translated by

Drago Ivanisevic, edited by Leone Piccioni, N u m b e r 17 o f 35

c o p i e s s i G N e d b y t h e a u t h o r a N d t r a N s l at o r, printed at the

Istituto Grafico Tiberino in Rome, 4 aquatint plates by Piero

Dorazio, printed in colours, all signed and dated in pencil,

bound in grey goatskin-backed boards, b y ti m o t h y c.ely ,

small abstract watercolour painting (100 x 70mm.,) in style

of Dorazio mounted on upper cover, spine titled in blind,

uncut, cloth drop-back box, folio, 340 x 240mm., Rome,

Grafica Romero, [1969]. £1000 – £1500

Lot 192

192. Auden (W.H.) da l l’et à d e l l’aN s i a: eG l o G a ba r o c c a,

h o r s c o m m e r c e c o p y o N h a N d m a d e am a l f i f r o m a N e d i t i o N

l i m i t e d to 70, 3 colour lithograph plates by Valerio Adami,

all initialled in pencil, bound in moulded black revorim,

b y Jea N d e GoN e t, grey calf label titled in black and with

horizontal rules in grey inlaid at an angle on upper cover,

boards edged in red calf at fore-edges, red calf spine with

exposed threads and grey calf bands, top edge blue, others

uncut, green calf doublures, original wrapper with colour

lithograph by Adami folded and bound in, signed and “Jean

de Gonet Revorim Atelier Antonio P.-N. 1986” at foot of

front and rear doublure, board folder and slip-case, 280 x

200mm., 4to, [Verona, printed by Alessandro Corubolo and

Gino Castiglioni], 1969. £750 – £1000

Lot 193

193. Campana (Dino) la No t t e, 2 vol., N u m b e r 2 o f 20

d e l u X e c o p i e s w i t h a N a d d i t i o N a l s u i t e o f p l at e s, from an

edition limited to 80, printed on handmade Amalfi, 2 linocut

plates and 18 illustrations by Alberto Manfredi, all printed in

colours, the plates signed in pencil, original purple moroccobacked

pink boards with linocut face in blue on upper cover,

t.e.g., others uncut, spine faded, board slip-case, additional

plates printed in variant colours and numbered & signed

in pencil, loose in pink board folder with printed label on

upper cover, spine faded, 4to & folio, 280 x 200 & 350 x

250mm., Verona, Castiglioni & Corubolo, 1972.

£300 – £400

Lot 194

194. Borges (Jorge Luis) si e t e po e m a s sa J o N e s; se V e N

sa X o N po e m s , N u m b e r 49 o f 120 c o p i e s s i G N e d b y t h e a u t h o r

a N d a rt i s t, printed in maroon and black in Horizon Light

type on Richard de Bas handmade paper, text in Spanish

and English, 8 embossed vignettes by Arnaldo Pomodoro,

original vellum with three vertical strips of gold-plated

bronze reliefs inset into upper cover, spine titled in black,

uncut, cloth box, titled bronze plate with low relief abstract

design nailed to lid, folio, 390 x 290mm., Verona, Plain

Wrapper Press, [1974]. £3000 – £4000

The library of Jan van der Marck

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62

195. [de Chirico (Andrea)], “Alberto Savinio”. th e

de pa rt u r e o f t h e ar G o N a u t, translated by George Scrivani,

number 145 of 232 copies signed by the artist, text printed

in red and black Bembo on Japan Okawara paper by Staib

und Maier of Stuttgart, 49 photolithographs by Francesco

Clemente, all but 6 colour, printed sheet of notes loosely

inserted, original wrappers, cloth drop-back box, names of

author and artist in blind on lid, large folio, 650 x 500mm.,

New York & London, Petersburg Press, 1986.

£1200 – £1800

BLOOMSBURY AUCTIONS

Lot 196

196. Ceronetti (Guido) st o r i a d’am o r e d e l 1812...,

N u m b e r 5 o f 90 c o p i e s s i G N e d b y t h e a u t h o r a N d a rt i s t

on Pescia paper, 13 lithograph illustrations by Mimmo

Paladino, 7 full-page, original grey morocco, small gilt

press device by Paladino on upper cover, spine titled in gilt,

t.e.g., others uncut, spine a little faded, board slip-case, 4to,

280 x 200mm., [Verona, Castiglioni & Corubolo], 1987.

£400 – £600

Lot 195

197. Licitra (Salvatore) pi c c o l o ci r c o l o ch i u s o, first

e d i t i o N, number 86 of 125 copies signed by the author and

artist, printed in Times bold on Zerkall-Butten by Ruggero

Olivieri, folding sheets with text and 17 aquatints or

etchings by Mimmo Paladino printed by Giorgio Upiglio,

etched frontispiece on Japon numbered, signed and dated in

pencil and loosely inserted in sleeve, front endpapers with

translation in white on red, original cloth-backed cream

boards with rain drops in red, slipcase, small folio, 305 x

195mm., Milan, Grafica Uno, G.Upiglio, 1991.

£400 – £600

Lot 197


Bruce Rogers

Lot 198

198. so N G o f ro l a N d (th e), translated by Isabel Butler,

number 29 of 220 copies on wove paper signed by the

designer/printer, printed in red, yellow and black in French

Gothic and Civilité in double column at the Riverside Press

of Boston under the supervision of Bruce Rogers, initial

letter in gold, hand-coloured illustrations derived from the

window of Charlemagne in Chartres cathedral, gilt-stamped

leather book-label of Estelle Doheny, original half vellum,

uncut, spine titled in gilt and slightly browned, modern cloth

drop-back box, folio, 440 x 290mm., New York, Houghton,

Mifflin & Co., 1906. £1000 – £1500

* * * This “experiment in mediaevalism”, as Frederic

Warde called it, is now one of the scarcest Riverside Press

publications.

❦ America

Lot 199

199. Bernard (Auguste) Ge o f f r o y to ry: Painter and

Engraver; First Royal Printer; Reformer of Orthography and

Typography under François I, translated by George B.Ives,

number 210 of 370 copies on handmade paper signed

by the translator and designer, printed in red and black

in Riverside Caslon, designed by Bruce Rogers with all

borders, decorations and initials redrawn by him from the

original woodcuts in the 1865 edition, modern dark green

morocco, spine titled in gilt, t.e.g., others uncut, with ornate

gilt boards from the original binding preserved as doublures,

cloth slip-case, large 8vo, 280 x 190mm., Cambridge, Mass.,

Riverside Press, 1909. £200 – £300

* * * The first of Bruce Rogers’ works on Renaissance

typography.

200. Gallatin (A.E.) mo d e r N fiN e pri N t i N G iN ame r i c a:

aN essay, 16pp., printed in Garamond, i N s c r i b e d b y

t h e a u t h o r to h i s N e p h e w alb e rt Gal l at i N on front free

endpaper, modern brown calf, title in gilt on upper cover

and spine, uncut, board slip-case, 240 x 170mm., New York,

privately printed [by Bruce Rogers at William E.Rudge of

Mount Vernon], 1921 § Warde (Frederic) Bruce Rogers

[and] Haas (Irvin) Bruce Rogers: A Bibliography, together

in 1 vol., facsimile reprint, original cloth, Port Washington,

N.Y., 1968, 4to & 8vo (2). £150 – £200

The library of Jan van der Marck

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a 201. Homer. th e od y s s e y, [translated by T.E.Lawrence],

one of 530 copies on grey Barcham Green, designed by Bruce

Rogers and printed in Monotype Centaur, title-vignette

and 24 head-pieces after Greek vase paintings printed as

roundels in black on gold, bound in black goatskin, b y iV o r

ro b i N s o N, tooled in gilt with thick and thin lines across both

boards and spine, spine titled in gilt at foot, t.e.g., others

uncut, black calf doublures with borders of nine rules in

blind, fawn suede flyleaves, signed “IR 91” at foot of rear

doublure, black goatskin-backed cloth chemise, black cloth

slip-case, 4to, 290 x 195mm., printed and published by Sir

Emery Walker, Wilfred Merton and Bruce Rogers, 1932.

£2500 – £3500

* * * “In the Odyssey, with complete sincerity, without tricks

or accessory decoration, with a classic austerity akin to the

timeless proportions of the Parthenon, with only type and

paper and ink, with consummate skill, Rogers created a

masterpiece.” Blumenthal p.134

The tooling with gold in several thicknesses adds turbulence

and drama to this binding. The linear and spatial relationships

are as tense as summer lightning. The binder, who had never

tackled this book before, commented that that were formal

elements in his decor suggestive of the stops and starts,

alarms and delays Odysseus experienced in his wanderings.

BLOOMSBURY AUCTIONS

Lot 201

Lot 201


Lot 202

202. Aesop. fa b l e s, translated by Samuel Croxall, edited by

Victor Scholderer, number 1288 of 1500 copies on Barcham

Green paper signed by the designer, printed in red and black

in Fell type, designed by Bruce Rogers and with illustrations

from Florentine woodcuts redrawn by him, original vellumbacked

marbled boards, spine titled in gilt, t.e.g., others

uncut, board slip-case, 4to, 260 x 180mm., Limited Editions

Club [printed by John Johnston at the Oxford University

Press], 1933. £150 – £200

Lot 203

203. Morison (Stanley) fr a lu c a d e pa c i o l i o f bo r G o

s.se p o l c r o, one of 390 copies on Batchelor handmade

paper initialled by the author at end of preface, designed

by Bruce Rogers and printed in red and black in Monotype

Centaur by Walter Lewis at the Cambridge University Press,

fine title-page with decorative border, initials, decorations,

photogravure portrait and illustrations, tissue guards, exlibrary

copy with stamps on colophon and another small one

on front pastedown, otherwise a good copy in the original

vellum-backed patterned-paper boards, t.e.g., others uncut,

modern cloth slip-case, small folio, 310 x 210mm., New

York, Grolier Club, 1933. £500 – £700

* * * The result of a collaboration of three of the most eminent

figures in modern printing: Bruce Rogers, Walter Lewis

and Stanley Morison. This book was one of 31 chosen to

represent the twentieth century in the Printing and the Mind

of Man Fine Printing Exhibition at the British Museum in

1963 (item no.178).

Lot 204

204. Nash (John Henry).- Dante Alighieri. th e co m e d y...

c o m m o N ly c a l l e d th e di V i N e co m e d y, translated by

Melville Best Anderson, 4 vol. including ‘The Florence of

Dante’ by Anderson, number 35 of 250 copies on handmade

Van Gelder, printed in Cloister Old Style Lightface ruled in

green, original vellum, gilt, spines gilt, yapp edges, t.e.g.,

others uncut, w i t h prospectus in marbled cloth, uncut, a little

rubbed, spine worn at head and foot, together 5 vol., folio,

355 x 230mm., San Francisco, John Henry Nash, 1929.

£1000 – £1500

* * * John Henry Nash started printing in San Francisco on

his own press in 1911. According to the prospectus, in 1923

the President of Mills College suggested to him that he

should devote himself to a monumental publication for the

honour of California. She also introduced Nash to Melville

Best who had been translating Dante. Thus Anderson’s life’s

work became Nash’s magnum opus. He commissioned

paper with his own watermark and had a new type cut; the

production took seven years.

A printed subscriber’s label pasted into the prospectus notes

that this copy belonged to Mrs. William Hand.

The library of Jan van der Marck

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BLOOMSBURY AUCTIONS

Grabhorn Press

Lot 205

205. Zeitlin (Jake) fo r whispers & c h a N t s, N u m b e r Xlii

o f l c o p i e s o N Va N Ge l d e r h a N d m a d e pa p e r a N d s i G N e d b y

t h e a u t h o r, p r i N t e r a N d p u b l i s h e r, from an edition limited

to 500 printed by Edwin Grabhorn at the Grabhorn Press,

pochoir-coloured frontispiece by Valenti Angelo numbered

and signed in pencil, bookplate of Edward L.Glaser, original

vellum-backed green boards with palladium-stamped label

on upper cover, uncut, board slip-case slightly rubbed, 4to,

260 x 180mm., San Francisco, The Lantern Press, [Gelber-

Lilienthal, Inc.], 1927. £120 – £180

* * * The author/bookseller’s first book, selected as one of

the American Institute of Graphic Arts ‘Fifty Books of the

Year’ in 1927.

Lot 206

206. Aesop. th e su b t y l hi s t o ry e s a N d fa b l e s..., translated

by William Caxton, number 105 of 200 copies on Arnold

unbleached paper, printed in red, blue and black in Koch’s

Bibel Gotisch type, pictorial title and 6 illustrations handcoloured

in blue, pink, yellow and gold, pictorial initials

printed in red, all by Valenti Angelo, order form loosely

inserted, light stain to fore-edge of title (not affecting image),

modern russet morocco, by Peter Geraty at the Praxis

Bookbindery, spine titled in gilt and with five raised bands,

t.e.g., others uncut, modern cloth drop-back box, morocco

label, small 4to, 235 x 160mm., San Francicso, Grabhorn

Press, 1930. £300 – £400

* * * Selected as one of the American Institute of Graphic

Arts ‘Fifty Books of the Year’ in 1930.

Lot 207

207. Lewis (Oscar) and others. Va l e N t i aN G e l o: au t h o r,

il l u s t r ato r, pr i N t e r, one of 400 copies on cotton-fibre

paper signed by Angelo, printed in red, blue and black in

Centaur by Andrew Hoyem, illustrations and decorations,

many printed in colour, some hand-coloured and heightened

in gold by Angelo himself, prospectus loosely inserted,

original cloth-backed boards, paper label on spine, uncut,

cloth slip-case, folio, 360 x 250mm., San Francisco, The

Book Club of California, 1976. £200 – £300

* * * Published in celebration of the 50 years of the artist’s

career in the art of the book.

The Crosbys and the Black Sun Press

Lot 208

208. Crosby (Caresse) crosses o f Go l d, a b o o k o f V e r s e,

104pp., first e d i t i o N, o u t-o f-s e r i e s c o p y o N V e r G é à l a

f o r m e f r o m a N e d i t i o N l i m i t e d to 100, pochoir-coloured

plates and decorations by Daniel-Girard, the first poem

‘Harry’ with first letter of each line spelling out the name

Harry supplied by hand in black and decorated in blue and

green, original printed cream wrappers, uncut, preserved in

morocco-backed marbled board drop-back box, spine titled

in gilt, small 8vo, Paris, [printed by Léon Pichon], 1925.

£400 – £600

* * * The author’s first book and the second publishing venture

undertaken by the Crosbys, well-connected American

expatriates living in Paris from where they launched the

Black Sun Press in 1928. Very scarce in this condition.


Lot 209

209. Wilde (Oscar) l’aN N i V e r s a i r e d e l’iN fa N t e, N u m b e r

16 o f 100 c o p i e s o N ho l l a N d e Va N Ge l d e r, from an edition

limited to 110, printed in brown and black in Peignot italic

by Lescaret under the direction of Harry & Caresse Crosby,

frontispiece, 8 plates, decoration to first leaf of text and tailpiece

by Alastair [Hans Henning von Voight], all in brown

and black, s i G N e d a N d i N s c r i b e d b y ha r ry cr o s b y “w i t h a

G r e at m a N y t h a N k s f o r r e pa i r i N G t h e t h r o at” on Black Sun

Press notepaper tipped in at beginning, original printed

cream wrappers, uncut, a superb copy preserved in modern

morocco-backed marbled board drop-back box lined with

silver foil, spine gilt, 4to, 280 x 230mm., Paris, Black Sun

Press, 1928. £750 – £1000

Lot 210

210. Preissig (Vojtech).- Whitman (Walt) sa l u t a u

mo N d e! from “Leaves of Grass”, number 85 of 390 copies,

printed in orange, purple and black, linocut illustrations

by Vojtech Preissig, gilt-stamped book-label of Herman

Wm.Kapp on front free endpaper, original vellum-backed

cream boards printed in orange and purple, uncut, slightly

rubbed at corners, 380 x 290mm., New York, Random House

Inc., 1930 § Aucassin and Nicolette, translated by Andrew

Lang, number 1288 of 1500 copies, illustrations and

decorations by Preissig printed in green, mauve, beige and

black, original patterned cloth, uncut, dust-jacket, slightly

browned, board slip-case, 290 x 195mm., Limited Editions

Club, 1931, both signed by the artist, on Zanders handmade

paper in types by Preissig and printed by the State Printing

Office in Prague, folio & 4to (2). £150 – £200

Lot 211

211. Dwiggins (W.A.).- Wells (H.G.) th e ti m e ma c h i N e.

aN iN V e N t i o N, printed in brown and black, double-page

pictorial title, plates and illustrations printed in colours,

original cloth-backed decorated boards, spine gilt, 230 x

155mm., New York, Random House, 1931; The Treasure in

the Forest, one of 130 copies signed by the artist in his three

aliases and other contributors, illustrations and decorations,

some with pochoir colouring, prospectus loosely inserted,

original decorated boards, uncut, glacine wrapper, 200 x

130mm., New York, Press of the Woolly Whale, 1936, both

designed and illustrated by W.A.Dwiggins, together in cloth

drop-back-and-front box, 8vo (2). £200 – £300

The library of Jan van der Marck

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68

BLOOMSBURY AUCTIONS

Lot 212

212. Garnett (Porter).- Longus. th e pa s t o r a l lo V e s o f

da p h N i s a N d ch l o e, translated by George Moore, number

1288 of 1500 copies on laid paper signed by the artist,

designed by Porter Garnett and printed under his direction

at Pittsburgh, etched plates and illustrations by Ruth Reeves,

original sheep with inlaid gilt embossed medallion by

Reeves on upper cover and blind-stamped borders in Greek

key pattern, spine titled in gilt, t.e.g., others uncut, spine

very slightly rubbed and faded, preserved in modern cloth

drop-back box, 280 x 200mm., New York, Limited Editions

Club, 1934 § Garnett (Porter, editor) The Fine Book: A

Symposium, one of 225 copies on Bishopstoke, printed in

red and black in Lutetia, original russet morocco, gilt, spine

gilt, t.e.g., others uncut, joints slightly rubbed, 204 x 130mm.,

Pittsburgh, Laboratory Press, 1934, 4to & 8vo (2).

£150 – £200

Lot 214

Lot 213

213. Stevenson (Robert Louis) aN iN l a N d Vo ya G e: Along

the Escaut River, the Willebroek Canal..., one of 150 copies,

charming double-page title, 23 head-pieces and colophon

vignette by Jean Hugo, all with pochoir colouring by the

studio of Jean Saudé in Paris, original calf-backed green

cloth with gilt-stamped label inlaid on upper cover, spine

titled in gilt, t.e.g., others uncut, preserved in modern cloth

drop-back box, 4to, Stamford, Ct., Overbrook Press, 1938.

£400 – £600

214. Baskin (Leonard).- Bacon (Francis) of Ga r d e N s,

24pp., number 57 of 200 copies on Millbourn Book laid

paper, t h i s c o p y s i G N e d a N d i N s c r i b e d b y t h e p r i N t e r/

a rt i s t “fo r Ja N Va N d e r ma r c k f r o m le o N a r d ba s k i N” on

colophon, printed in green, orange and black in Intertype

Garamond with green rules, original patterned-paper

stiff wrappers, small printed label on upper cover, uncut,

preserved in cloth-backed marbled board drop-back box,

12mo, 150 x 110mm., Northampton, Mass., Gehenna Press,

1959. £200 – £300


Lot 215

215. -. Hughes (Ted) and Leonard Baskin. mo k o m a k i: thirteen etchings of shrunken & tatooed Maori heads by Leonard

Baskin & three poems by Ted Hughes, N u m b e r 9 o f 10 c o p i e s w i t h a N a d d i t i o N a l s u i t e o f p l at e s o N o t h e r pa p e r s a N d iN

d i f f e r e N t c o l o u r s, from an edition limited to 50, etched decorative additional title and 13 etchings by Baskin on a variety

of handmade papers by Bruce Chandler, all numbered and signed in pencil, text printed by Gail Alt & Lou Bannister at

Amherst, prospectus loosely inserted, original dark red goatskin, b y Gr ay pa r r o t, upper cover inlaid with intricate Maori

mask and lower with elaborate typographic emblem of the press, both in grey goatskin, thin black goatskin strips across

boards and spine at head and foot, title onlaid in grey goatskin letters, uncut, signed at foot of rear pastedown, additional

plates all signed in pencil (title etching lightly foxed), loose as issued w i t h a l a r G e s i G N e d o r i G i N a l wat e r c o l o u r o f a ma o r i

h e a d b y ba s k i N (280 x 200mm., mounted) together in original limp vellum folder, Maori mask in gilt on upper cover, together

in original goatskin-backed and edged cloth drop-back box, spine titled in gilt, w i t h o r i G i N a l copper p l at e f o r t h e s e c o N d

e t c h i N G housed in recess at back of box (80 x 50mm., cancelled), spine faded, a little rubbed at edges, folio, 380 x 280mm.,

Leeds, Mass., Eremite Press., 1985. £2000 – £3000

* * * The artist became fascinated by shrunken heads as a boy in Brooklyn visiting the city’s ethnographic collections.

The library of Jan van der Marck

69


70

216. Johns (Jasper).- Beckett (Samuel) fo i r a d e s; fi Z Z l e s,

edited by Véra Lindsay, number 187 of 250 copies signed

by the author and artist, from an edition limited to 300

on handmade paper by Richard de Bas of the Auvergne

watermarked with the initials/signature of Beckett and

Johns, printed in Caslon Old Type by Fequet & Baudier

of Paris, text in French and English, 31 etchings by Jasper

Johns, many with aquatint, 6 double-page, printed by the

Atelier Crommelynck of Paris, tissue guards, with 2 further

double-page etchings in colours forming endpapers,

original plain cream wrappers of handmade paper, uncut,

original linen drop-back box lined with colour lithographs

by Johns, designed and executed by Rudolf Reiser of

Cologne, prospectus loosely inserted, 4to, 330 x 250mm.,

London & New York, Petersburg Press, 1976.

£6000 – £8000

* * * A fine copy, without the usual offsetting.

BLOOMSBURY AUCTIONS

Lot 217

Lot 216

217. Shakespeare (William) th e tr a G e d i e o f ki N G le a r,

number 63 of 160 copies signed by the artist, printed on

pale grey handmade paper by Katie MacGregor & Bernie

Vinzani of Whiting, Me., printed in Spectrum & Times New

Roman, woodcut illustrations by Claire Van Vliet printed

by the artist at the Janus Press, some full-page, original

pigskin-backed birch boards stained by Van Vliet, spines

with exposed threads, uncut, original cloth folder, cloth slipcase,

large 4to, 360 x 270mm., Bangor, Me., Theodore Press,

1986. £500 – £700

Lot 218

218. Mather (Cotton) and others. ca p t i V i t y Na r r at i V e

o f ha N N a h du s t o N, one of 425 copies signed by the artist,

printed on Rives heavyweight in Goudy’s Kennerley Bold

and Koch’s Neuland, 35 woodcuts by Richard Bosman,

original cloth-backed boards, uncut, paper label on spine,

cloth slip-case, folio, 420 x 310mm., San Francisco, Arion

Press, 1987. £250 – £350


219. Wittgenstein (Ludwig) oN ce rta i N t y; Üb e r Gewissheit,

edited by G.E.M.Anscombe and G.H.von Wright, number 233

of 326 copies signed by the artist on his statement, printed in

red, blue and black in Plantin on mould-made heavyweight

Rives, 12 full-page illustrations of red outline squares with

numbers along lines in black by Mel Bochner (reproduced from

drawings on mylar), w i t h o r i G i N a l d r aw i N G iN r e d c r ay o N a N d

b l a c k i N k iN style o f t h o s e iN t h e b o o k a b o V e q u o tat i o N f r o m

wittGeNstei N “471. It is so difficult to find the beginning. Or

better: It is so difficult to begin at the beginning. And not try

to go further back.” a N d i N s c r i b e d b y t h e a rt i s t “fo r JaN a N d sheila Va N d e r ma r c k w i t h f r i e N d s h i p, mel 6 Ju ly 1992”

original dark grey cloth, covers inlaid with pale grey cloth

square titled in grey and with diagram in red, grey cloth slipcase,

large 4to, 370 x 340mm., San Francisco, Arion Press,

1991. £400 – £600

* * * An unusual livre d’artiste based on Bochner’s 1971

series titled Counting Alternatives.

Lot 219

Lot 220

220. Berssenbrugge (Mei-Mei) and Kiki Smith.

eN d o c r i N o l o G y, N u m b e r 32 o f 40 c o p i e s s i G N e d a N d d at e d b y

t h e a u t h o r a N d a rt i s t, from an edition limited to 55, printed

in Caslon Italic on Mohawk Superfine cut and mounted as

irregular strips on natural fibre Nepalese paper, 21 organic

lithographs printed in blue by Kiki Smith with hand-written

words by her in blue ink on mounted strips, linen-backed

cardboard, uncut, photograph of the artist mounted on each

cover, cloth-backed board drop-back box, large folio, 540 x

500mm., Long Island, N.Y., Universal Limited Art Editions,

1997. £2000 – £3000

eN d o f sa l e

The library of Jan van der Marck

71


72

G.H.Pannekoek, Jr. De Herleving van de Nederlandsche Boekdrukkunst sedert 1910, Maastricht, 1925

A.A.M.Stols. Het Schoone Boek, Rotterdam, 1935

A.A.M.Stols. Het Werk van S.H. de Roos, Amsterdam, 1942

A.M.Hammacher. Jean-François van Royen 1878-1942, The Hague, 1947

John Dreyfus. The World of Jan van Krimpen. An illustrated record with a foreword by Stanley Morison, Haarlem, 1952

In Memoriam Charles Nypels 1893-1952. Contributions by Jan Engelman, René-Louis Doyon and Albert Witte,

Amsterdam, 1953

Dirk de Jong. Het Vrij Boek in Onvrije Tijd, Leiden, 1958

Lisette Lewin. Het clandestiene boek 1940-1945, Amsterdam, 1983

Charles Nypels Meester-Drukker. Contributions by Jo van Rosmalen, Dick Doijes, Ernst Braches, Albert Helman, and a

bibliography of the publications he designed and printed by Marianne and Karel van Laar, Maastricht, 1986

Mathieu Lommen. De Grote Vijf: S.H. de Roos, J. van Royen, J. van Krimpen, C.Nypels, A.A.M.Stols, Amsterdam, 1991

C.van Dijk. Alexandre A.M.Stols 1900-1973: Uitgever-Typograaf. Een documentatie, Zutphen, 1992

Sjoerd van Faassen, Koosje Sierman, Sjaak Hubregtse. Adieu Aesthetica & Mooie Pagina’s! Jan van Krimpen 1892-1958,

Amsterdam, 1995

Jan van der Marck. The Art of Contemporary Bookbinding: Leroux - Mathieu - de Gonet - Lobstein - Robinson - Glaister

- Ely - Mowery, Amsterdam 1997. The 64 bindings on which this study was based became the subject of an exhibition

organized by the Bibliotheca Wittockiana, Brussels with the Royal Library, The Hague, and the Bibliothèque historique de

la ville de Paris as additional venues, all in 1997.

The Fine Bindings of J.Franklin Mowery, The Cosmos Club, Washington, D.C., 2007

Livres Illustrés - Reliures Decorées du vingtième siècle. Ouvrages choisis de la Bibliothèque Jan van der Marck, Claude

Blaizot, Arcturial, Paris, 2007

BLOOMSBURY AUCTIONS

❦ Sources and References


Entries are now invited for the next sale of

Oil Paintings, Watercolours, Drawings and Prints

Andre Derain. Portrait de Femme,

oil on canvas, 390 x 315mm., signed. £6000-£8000

Johannes Kip. A Prospect of the City of london,

engraving, 490 x 1185mm., c.1724. £1000-£1500

Henry Overton. A New and Exact Plan of the City of London,

engraving, c.1731. £1500-£2000

to take place on Thursday 2nd July 2009

Closing date for entries, Thursday 28th May 2009

Andy Warhol. Mao (F.&S.97). Silkscreen printed in colours. £25,000-35,000

Francesco Ballesio (1860-1923). A Reclining Beauty

watercolour over pencil, signed. £11000-£15000

Louis Block. In Books Lies the Soul of the Whole Past Time,

watercolour and ink, 240 x 490mm, signed. £1000-£1500

To include Views and Plans

of London and the Thames

18th century English School. Construction of Richmond Bridge, c.1777

watercolour and ink, 420 x 630mm. £400-£600

For further information, or to discuss consignments, please contact Robert Hall: rhall@bloomsburyauctions.com

Bloomsbury House | 24 Maddox Street | London | W1S 1PP | T +44 (0) 20 7495 9494 | F +44 (0) 20 7495 9499 | info@bloomsburyauctions.com | www.bloomsburyauctions.com


74

Co n d i t i o n s o f sa l e a n d Bu s i n e s s

1. (a) Bloomsbury Auctions Limited trading as

Bloomsbury Auctions (“the Auctioneer”) sells as agent

for the seller (except where otherwise stated) and as

such is not responsible for any default by buyer or seller.

(b) The Seller warrants to the Auctioneer and to the buyer that

he is the true owner or is properly authorised to sell the property

by the true owner and is able to transfer good and marketable

title to the property free from any third party claims.

2. (a) The highest bidder to be the buyer. If during the

auction the Auctioneer considers that a dispute has arisen

he has absolute authority to settle it or re-offer the lot. The

Auctioneer may at his sole discretion determine the advance

of bidding or refuse a bid, divide any lot, combine any

two or more lots or withdraw any lot without prior notice.

(b) Where goods are bought at auction by a buyer who has

entered into an agreement with another or others that the other or

others (or some of them) shall abstain from bidding for the goods

and the buyer or other party or one of the other parties is a dealer as

defined in the Auction (Biddings Agreement Act 1927) the buyer

warrants that the goods are bought bona fide on a joint account.

3. The buyer shall pay the price at which a lot is knocked down

by the Auctioneer to the buyer (“the hammer price”) together

with a premium of 20% of the first £150,000 of the hammer

price of each lot and 10% thereafter, hereafter collectively

referred to as “the total sum due”. By making any bid the buyer

acknowledges that his attention has been drawn to the fact that

on the sale of any lot the Auctioneer will receive from the seller

commission at its usual rates in addition to the said premium

and assents to the Auctioneers receiving the said Commission.

4. (a) The buyer shall forthwith upon the purchase

give in his name and permanent address together with

proof of identity and pay to the Auctioneer immediately

after the conclusion of the auction the total sum due.

(b) The buyer may be required to pay down during the course

of the sale the whole or any part of the total sum due, and if he fails

to do so after such request the lot or lots may at the Auctioneer’s

absolute discretion be put up again and resold immediately.

(c) The buyer shall at his own expense take away any lot or lots

purchased no later than five working days after the auction day.

(d) The Auctioneer may at his discretion agree credit terms

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special cases but otherwise payment shall be deemed to have

been made only after the Auctioneer has received cash or a

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he reserves the right to charge interest which shall accrue at the

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rate of 4% over such base lending rate of National Westminster

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amounts due but unpaid. This right shall be exercisable without

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5. (a) If the buyer fails to pay for or take away any lot or lots pursuant

to clause 4 or breaches any other condition of that clause the

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with the seller to exercise one or other of the following rights:

(i) Rescind the sale of that or any other lots sold to the buyer

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proceeds of that sale after deduction of costs of re-sale and

the total sum due. Any surplus shall belong to the seller.

(ii) Proceed for damages for breach of contract.

(b) Without prejudice to the Auctioneer’s rights hereunder if any

lot or lots are not collected within five days or such longer period

as the Auctioneer may have agreed otherwise, the Auctioneer

may charge the buyer a storage charge up to £1.00 per lot per day.

(c) Ownership of the lot purchased shall not pass to the buyer

until he has paid to the Auctioneer the total sum due but the risk

in the lot passes to the buyer on the fall of the hammer.

6. (a) The seller shall be entitled to place a reserve on any

lot and the Auctioneer shall have the right to bid on behalf of

the seller for any lot on which a reserve has been placed. A

seller may not bid on any lot on which he has placed a reserve.

(b) Where any lot fails to sell, the Auctioneer shall

notify the seller accordingly. The seller shall be requested

to make arrangements either to collect the lot or re-offer

the lot for sale; if re-offered standard selling commission

is always 15% and the vendor may be asked to pay

any special expenses incurred in cataloguing the lot.

(c) If such arrangements are not made within seven days of the

notification the Auctioneer is empowered to sell the lot without

reserve by auction or by private treaty and to receive from the

seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any

catalogue, brochure or advertisement of forthcoming sales

as to authorship, attribution, genuineness, origin, date, age,

provenance, condition or estimated selling price is a statement

of opinion only. Every person interested should exercise and

rely on his own judgement as to such matters and neither the

Auctioneer nor his servants or agents are responsible for the

correctness of such opinions. No warranty whatsoever is given

by the Auctioneer or the seller in respect of any lot and any

express or implied warranties are hereby excluded.


8. No warranty is given by the Auctioneer, its servants or agents,

to the seller as to the authorship, attribution, genuineness, origin,

date, provenance, condition or value of any lot and any express

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The seller acknowledges and agrees that the Auctioneer owes

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and indemnifies the Auctioneer against any liability howsoever

arising in respect of any inaccuracies in such information and

against all costs and expenses incurred by the Auctioneer in

dealing with any claim arising in that respect.

9. (a) Notwithstanding any other terms of these conditions, if

within fourteen days of the sale the Auctioneer has received

from the buyer of any lot notice in writing that in his view

the lot is a deliberate forgery and within fourteen days after

such notification the buyer returns the same to the Auctioneer

in the same condition as at the time of the sale and satisfies

the Auctioneer that considered in the light of the entry in the

catalogue the lot is a deliberate forgery then the sale of the lot

will be rescinded and the purchase price of the same refunded. “A

deliberate forgery” means a lot made with intention to deceive.

(b) A buyer’s claim under this condition shall be limited

to any amount paid to the Auctioneer for the lot and for the

purpose of this condition the buyer shall be the person to whom

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10. Lots may be removed during the sale after full settlement in

accordance with 4(d) hereof.

11. All goods delivered to the Auctioneer’s premises will be

deemed to be delivered for sale by auction unless otherwise

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the seller no later than twenty-eight days after the day of the

auction provided that the Auctioneer has received the total sum

due from the buyer. In all other cases the Auctioneer will remit

the proceeds of the sale to the seller within seven days of the

receipt by the Auctioneer of the total sum due. The Auctioneer

will not be deemed to have received the total sum due until

after any cheque delivered by the buyer has been cleared. In the

event of the Auctioneer exercising his right to rescind the sale

his obligation to the seller hereunder lapses.

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event charge the seller such cancellation charges as may

be deemed necessary by the Auctioneer to compensate the

Auctioneer for all expenses and other losses involved in or

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above such compensation shall be not less than the vendor’s

commission and the buyer’s premium chargeable on the middle

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apply to any contract with the Auctioneer as if incorporated herein.

16. The Auctioneer accepts no responsibility in connection with

the commissioning of their staff to bid for any lots. Reserves

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76

not i C e s an d in f o r m at i o n

Description and Condition of Lots

Prospective buyers must satisfy themselves concerning

the condition of the goods and the matters referred to in the

catalogue description, in accordance with section 7 of the

Conditions of Sale and Business. Solely as a convenience,

Bloomsbury Auctions may provide condition reports. Many

items are of an age or nature which precludes their being in

perfect condition and some descriptions in the catalogue,

or given by way of condition report (made either orally or in

writing), make reference to damage and/or restoration. We

provide this information for guidance only and the absence of

such a reference does not imply that an item is free from defects

or restoration, nor does a reference to particular defects imply

the absence of any others.

Collation of Books

If, on collation, any NAMED items in this catalogue prove

defective, in text or illustration, the purchaser may reject the

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un-named items, periodicals, autograph letters, manuscripts,

music, maps, atlases, prints or drawings, nor in respect of

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plates, nor in respect of defects mentioned in the catalogue or

announced at the time of sale.

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Purchasers are advised that a storage charge of £1.00 per lot

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working days of the sale.

Commission Bids

If instructed we will execute bids and advise intending

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accepted only at the sender’s risk and must be confirmed before

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Pl e a s e no t e:

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* We may recommend specialist art handlers for certain

valuable or extremely heavy lots.

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may be opened by overseas customs and resealed

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* P.O. Box addresses are not accepted by couriers for

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wish to clear books immediately after a sale.

Commission Rates

Vendors. The commission payable by the vendor on the

hammer price is 121⁄2% for property in excess of £3,000

and 15% below that amount. Special rates are negotiable

on single items of the value of £5,000 and over. Our

commission on manuscripts, prints, drawings, atlases,

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of the first £150,000 of the hammer price of each lot and

10% thereafter.


The symbol t following a lot number indicates that

Bloomsbury Auctions has a financial interest, direct or

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Lots marked with an alpha symbol (a) are subject to the

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Auctions an amount equal to the resale royalty and we will

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amount cannot be more than 12,500 Euros per lot. The amount

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Royalty For the portion of the Hammer Price (in Euros)

4.00% up to 50,000

3.00% between 50,000.01 and 200,000

1.00% between 200,000.01 and 350,000

0.50% between 350,000.01 and 500,000

0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the

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Zero-rated items such as books, unframed maps and albums

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buyer must pay the import at a rate of 5% on the hammer and

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being agreed by prior arrangement. If items are subsequently

consigned for sale, the fees will be refunded.

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Bids can be sent

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day and night

Bidding

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Please bid on my behalf at you sale on up to the price indicated below. These bids are made subject

to the conditions of sale printed in the catalogue. I understand that if my bid is successful a premium of 20% of the first

£150,000 of each lot and 10% thereafter will be added to the hammer price.

Lot Title

£ Bid excluding

premium

Buyers unknown to us are advised to make arrangements before the sale for payment. If such arrangements are

not made, cheques will be cleared before purchases are released.


In t e r nat I o na l De pa rt m e n t s

Tommaso Zanzotto President

Rupert Powell Managing Director

Tom Lamb International Head of Books & Manuscripts

Bernard Frelat CEO - Americas

Rome Departments T +39 06 679 1107

BOOKS & MANUSCRIPTS

Fabio Massimo Bertolo Head of Department, Auction Manager

Silvia Ferrini Senior Book Specialist

Andrea Cappa Book Specialist

19th & 20th CENTURY ART

Luca Santori Head of Department

Andrea Baboni Senior Consultant

OLD MASTER PAINTINGS

Valentina Ciancio Head of Department

Adele Coggiola Junior specialist / Administrator

PHOTOGRAPHS

Silvia Berselli Consultant

CONTEMPORARY ART

Francesca Mauti Consultant

ADMINISTRATION

Debora Bifolco

SALEROOM MANAGER,

PACKING AND SHIPPING

Claudio Vennarini

Rome

Palazzo Colonna | Via della Pilotta 16 | 00187 | Roma

T +39 06 679 1107 | F +39 06 699 23077

rome@bloomsburyauctions.com

www.bloomsburyauctions.com

New York Departments T +1 212 719 1000

BOOKS & MANUSCRIPTS

Richard Austin Literature Specialist, Estates & Appraisals

Peter Costanzo Bibliophile Specialist

James Cummins, III Bibliophile Specialist

Tom Lamb International Head of Books & Manuscripts

Stephen C. Massey Senior International Consultant

PHOTOGRAPHS

John Cowey Head of Photographs Department

Hannah Hayden Junior Specialist

POSTERS

Richard Barclay Poster Specialist

PRINTS

Christine Berlane Head of Modern Prints Department

ADMINISTRATION

Edward Bandiouk IT Administrator

Rebecca Escobar Gallery Assistant

Bouba Guindo Office Manager

Oliver Han Photographer & Graphic Designer

Mallory Jones Client Service Representative

Emily Kiernan Sales Administration Manager

Mikel Lubrano Marketing & Business Development Manager

Eric Winkler Art Handler

New York

6 West 48th Street | New York | NY 10036

T + 212 719 1000 | F + 212 719 1400

newyork@bloomsburyauctions.com

www.bloomsburyauctions.com


Sale 685

Catalogue Price £15

Bloomsbury House | 24 Maddox Street | London | W1S 1PP

T +44 (0) 20 7495 9494 | F +44 (0) 20 7495 9499

info@bloomsburyauctions.com | www.bloomsburyauctions.com

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