MARILYN BRAITERMAN

Marilyn Braiterman
32
de Saint Phalle was a French/American artist known for her
colorful cartoon-like sculptures, paintings and prints in an
amalgam of Pop, Surrealist and folk art styles.
This work recalls her “Nanas” of the mid-sixties: exaggerated
figures in bulbous shapes painted in light colors within crisp,
cartoon outlines. $350
COLOR IN ART AND MUSIC
119. SATTLER, JOSEF. Meine Harmonie. Berlin:
J. A. Stargardt, 1896. Oblong folio, calf spine and gray printed
and illustrated boards. The leaves are hinged to lay flat. Some
sporadic foxing or darkening; an excellent copy of a very scarce
book. Sixteen leaves on thick paper, printed on one side only, of
which thirteen are in color. The last leaf is a list of Sattler’s works
published by Stargardt. A fascinating book both for its theoretical
content, attempting to equate the symbolic values of colors with
that of musical notes, and for the beauty of its graphics.
Color woodcuts include four leaves of music and four graphic
illustrations (plus a color etching) illustrating Sattler’s theories
on the symbolism of color, which can be compared to the
experimental work of Munch and show the influence of
Japanese and French artists as well. Excerpts from Beethoven,
Schumann, Franck and Wagner have been given symbolic
colors. Titles of the illustrations are (translated): The Dark
Burden, The Poor Girl, Returning Home in the Evening,
The Mother, and The Two Voices. Title page and smaller
illustrations in a Jugendstil esthetic.
This is an excruciatingly complex theoretical work and is
discussed in great detail in an article in Philobiblon 19 (1975)
by Alexander Pilipczuk. The journal and an English translation
are included with the book. OCLC - three holdings. $2500
SEE COLOR INSERT
120. (SAUVAGE, SYLVAIN) MME. X... & PAUL REBOUX.
Trente-Deux Poèmes d’Amour. Paris: Éditions G. Crès & Cie.,
1923. Narrow 16mo, printed wrappers with pictorial vignette.
Fine. One of 85 on Japon
impérial (of a total of 1000
copies). Illustrated with
sweetly erotic etchings,
an elegant production by
Sylvain Sauvage, the Art
Deco painter and designer.
WITH a separate suite of
34 etchings, which is not
called for in the colophon.
$850
COLOR PRINTING
121. (SAVAGE, WILLIAM, printer) PUCKLE, JAMES.
Illustrations to Puckle’s Club: Printed ( for the Proprietor)
in Colours, from the Original Blocks, and Limited to One
Hundred Impressions .(London) 1820. 8vo, newly bound
in marbled paste paper boards with copy of the title page
lettering and vignette laid down on front cover. Title page
within border and mounted color- printed vignette on India
paper and descriptive plate list. The 24 amusing, color-printed
illustrations are mounted within Greek key and vine borders.
They represent contemporary types in an alphabet format.
For example: Antiquary, Buffoon ,Critic, Detractor, Envioso,
Flatterer, Gamester, Hypocrite, et al., ending with Zany.
The printer has been identified as William Savage, the pioneer
of 19 th century color printing. Not listed in Friedman, McLean
or Waddleton’s Chronology. Wilsey Rare Books, Cat. 37: “...in
effect, the earliest example of the nineteenth century revival
of color printing from wood. It is of great rarity not in BLC,
COPAC or NUC...” Apparently only 100 copies were printed.
WITH: PUCKLE, JAMES. The Club; in a Dialogue between
Father and Son. In Vino Veritas. London: Printed for the
Proprietor by John Johnson and Sold by Longman, Hurst,
Rees, Orme and Brown... 1817. Tall 8vo, morocco and marbled
boards (matching endpapers); spine gilt lettered; a little scuffed
and some foxing (up to about page 20). Original brown lettered
front wrapper bound in. Small paper copy, one of 500.
Engraved portrait of Puckle, title page with illustration of
the Club and decorative border. Descriptive text within red
borders with illustrations of the characters (as above) at each
chapter head, “intended to expose vice and folly”. List of
subscribers includes Bewick, Whittingham, Pyne and Miss Jane
Porter. First printed in 1711, the work is reprinted here with
illustrations by John Thurston, engraved on wood by leading
contemporary engravers. $2000
122. The Savoy: An Illustrated Monthly. Edited by Arthur
Symons. London: Leonard Smithers, January-December 1896.
Numbers 1 to 8, all published, bound in three volumes. 4to,
publisher’s elaborate gilt-pictorial navy cloth with spectacular
front cover design by Aubrey Beardsley and gilt-decorated
spines. Light bumping at spine tips with no loss, but the 1896
date at bottom of the spines is faint. Some foxing; fore-edge
of leaves darkened. Inner hinges professionally strengthened.
The pictorial gilt covers are bright as is the gilt on the spine,
(except for the date as noted). First edition in book form and
the first state of the binding with “Leonard Smithers/1896”
at base of spines. Each issue is preceded by print of the front
wrapper on white paper; original advertisements are present at
rear of each number.
Literary contributors include George Bernard Shaw, Max
Beerbohm, Aubrey Beardsley, Havelock Ellis, W. B. Yeats,
Verlaine, Gosse, Conrad and others. Illustrations by Beardsley,
the art editor, and others. Many artists and writers for The
Yellow Book followed Beardsley to The Savoy after his
expulsion. The periodical was named for the great new London
hotel to suggest modernity, opulence and magnificence.
Harvard, The Turn of a Century, 34: “... perhaps the most
mature and consistent periodical to express the literary and
artistic culture of the Nineties in England.” Lasner 103.
$2000
123. (S. DOMINIC’S PRESS) PEPLER, H. D. C. The Hand
Press: An Essay Written and Printed by Hand for the Society
of Typographic Arts, Chicago, by H. D. C. Pepler, Printer,
Founder of S. Dominic’s Press. Ditchling Common, Sussex,
1934. 8vo, navy linen boards with cream cloth wrap-around