DISTINGUISHED TYPOGRAPHY - Bloomsbury Auctions

DISTINGUISHED
TYPOGRAPHY
FROM THE LIBRARY OF
JAN VAN DER MARCK
Monday 8th June 2009
London

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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
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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

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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

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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
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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

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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

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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
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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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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
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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
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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
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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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66
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
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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
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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
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Collation of Books
If, on collation, any NAMED items in this catalogue prove
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Bids can be sent
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020 7495 9499
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
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£150,000 of each lot and 10% thereafter will be added to the hammer price.
Lot Title
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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