HUGNET, GEORGES La Septieme face du de

FIRST EDITION. “In Hugnet’s photocollages, and notably in his book La Septième Face du dé, composed of twenty poèmes-découpages, truncated limbs proliferate – female legs detached, crossed, spread-eagled, legs juxtaposed with large breasts or seashells, or multiple legs forming a rosace shape… The mechanism of duplication (or multiplication), characteristic of Hugnet’s collages, does in fact transform the body into fetishistic fragments, which are explicitly encoded as simulacra in the schematic outline which reduces the body to a flat disembodied sign of femininity” –Elza Adamowicz, Surrealist Collage in Text and Image: Dissecting the Exquisite CorpseFolio. 20 black and white photo-collages, some with colour, printed on white paper. Original pale-green card covers, designed by Marcel Duchamp, sewn in Japanese style with black thread. Near-fine, slightest rubbing at extremeties. Custom box. 

RAY, MAN; ELUARD, PAUL Facile: Poemes de Paul Eluard, Photographies de Man Ray

"Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life, Facile must be ranked among the most successful." --Roth, 101 BooksNumber 623 of 1200 copies on vein, SIGNED AND INSCRIBED by Paul Eluard on the half-title.Quarto, original wappers; custom half-morocco box. First gathering loose, a hint of wear to wrapper edges. A fine copy.

RAY, MAN Self-Portrait

First edition, SIGNED and INSCRIBED by Man Ray: "for Arnold and Gus Newman affectionately Man Ray 1963". With an original line drawing by Man Ray and Newman's notations on front endpaper. An important association copy.

RAY, MAN La Photographie n'est pas l'art

FIRST EDITION, SIGNED BY MAN RAY. A FINE COPY. "I paint what cannot be photographed, that which comes from the imagination or from dreams, or from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an existence." -Man RayOctavo, stamped blue wrappers, with the black die-cut outer wrapper. A fine copy, signed by Man Ray on the title page. A FINE COPY.

ROOSEVELT, THEODORE [Photograph Signed]

“There can be no life without change, and to be afraid of what is different or unfamiliar is to be afraid of life.” - Theodore RooseveltHUGE SIGNED PHOTOGRAPH OF THEODORE ROOSEVELT AS PRESIDENT, INSCRIBED TO ROOSEVELT’S PHYSICIAN AND CLOSE FRIEND. The large image depicts the bespectacled president seated at his desk holding some papers. Roosevelt’s personal inscription, in deep black fountain pen upon the reverse blank portion of the papers in his hand in this image reads, in full: “To Alexander Lambert with the affectionate regard of his friend -- Theodore Roosevelt -- March 4th 1907”.In his second term as president, Theodore Roosevelt inscribed this image to his close friend and family physician Alexander Lambert. Not only was the relationship between the two well-documented in numerous letters and telegrams, but also the doctor accompanied Roosevelt on several of the president’s famous hunts.While 1907 marked the end of his two-term presidency, Roosevelt accomplished much as the nation’s 26th president. “The administration of Theodore Roosevelt was in some respects the first modern presidency. It is with Roosevelt that the most distinctive twentieth-century characteristics of the executive office emerged as more or less permanent traits. Roosevelt put the presidency and the federal government at the center of peacetime political action” ( Beautifully framed under UV-protected museum glass. Size: Approx. 11x14 inches (photograph alone); 18.5x21.5 inches (framed). Original sepia-toned silver print. Two small chips at the top corners (not visible under the frame); otherwise in nearly perfect condition. Inscription crisp and dark, with a particularly fine example of Roosevelt's signature (the signature by itself is 3.25 inches long). AN EXTREMELY RARE OVER-SIZED PHOTO, WITH OUTSTANDING ROOSEVELT INSCRIPTION AND SIGNATURE.

BARTOLI, PIETRO SANTI & BELLORI, GIOVANNI PIETRO Colonna Traiana, erreta del Senato, e Popolo Romano all'Imperatore

FIRST EDITION. COMPLETE WITH 128 engraved plates (including title and dedication). "The Column of Trajan was dedicated on May 18, AD 113, and commemorates a series of militray campaigns waged by the emperor in Dacia between AD 101 and 106... The column itself if composed of 17 separate drums of fine Luna marble, and the carved spiral frieze contains 155 different scenes featuring 2,600 carved figures... the fine details of the carvings... have proven to be of enormous use to historians and archaeologists in reconstructing the particulars of Roman military equipment and tactics, as well as the interactions of the Romans with barbarians."–Gregory S. Aldrete, Daily Life in the Roman CIty: Rome, Pompeii, and Ostia Oblong folio. 128 engraved plates (incl. title & dedication); without the 9 leaves of text (as often). Uncut in 19th century half roan (some light wear to edges, short splits in lower joints, foxing to title & a few other plates, mainly in the margins).

WARE, ISAAC Complete Body of Architecture Adorned with Plans and Elevations, from Original Designs

FIRST EDITION, FIRST ISSUE, with plate numbers within the plate lines and the plate at 70-71 uncorrected and reading“Warwick Shire”.“We hope to lay down in one body the whole science of architecture, from its first rudiments to its utmost perfection; and that in a manner which shall render every part of it intelligible to every reader; to acquaint the gentleman with what, on every possible occasion, he should design in his edifice; and to instruct the practical builder in not only what he ought to do, but how he should execute it, to his own credit, and to the advantage of the owner.” –Isaac Ware, Complete Body of Architecture“The modern concept of architecture as a profession was formed after about 1750 ... [the] two major books of English professional architectur- al instruction of the eighteenth century [were] Ware’ Complete Body of Architecture and Sir William Chambers’s Treatise on Civil Architecture” (Studies in Eighteenth-Century British Art and Aesthetics).Folio, full contemporary calf, elaborately gilt spine in seven pan- els. Engraved frontispiece, title in red and black with engraved vignette, engraved head-piece and 114 plates (many of them fold- ing). Boards lightly rubbed, skillful repairs at hinges and spine ends, clean throughout. An excellent copy.

Flower Is... Frank, Robert

LIMITED FIRST EDITION, ONE OF ONLY 500 COPIES. A FINE COPY IN THE ORIGINAL SHIPPING BOX. (Tokyo): (Yugensha), (1987). Folio (343x250mm), original pictorial gray silk, original slipcase with mounted photographic reproduction; in the original shipping box. A fine copy.

WINCKELMANN, JOHNANN JOACHIM Monumenti Antichi Inediti Spiegati ed Illustrata

FIRST EDITION, illustrated with 208 beautiful copper-plate engravings and numerous in-text illustrations and vignettes. Folio, contemporary vellum with original red leather label, decorated endpapers. Two volumes in one. Text in Italian. Bookplates. Light wear to binding, very small library number on dedication leaf, small tear to endpaper. Occasional light foxing. Plates very clean. A superb, wide-margined copy in contemporary vellum of the beautifully-illustrated first edition.

SAMARAS, LUCAS Samaras Album. Autointerview. Autobiography. Autopolaroid.

FIRST EDITION. THE RARE DELUXE ISSUE: 1 OF 100 SIGNED COPIES WITH A SIGNED AND NUMBERED POLAROID. This copy numbered 80. Quarto. Color and black and white photographs throughout. Polaroid, signed ("LS") and numbered ("80/100") in original glassine sleeve. (Edges lightly toned.) Original pictorial cloth, front cover with embossed lettering, and centered with a mounted color photograph. A FINE COPY.

ATGET, EUGENE Atget Photgraphe de Paris

“For many among us Atget’s Paris is now no more than a memory whose delicacy is already mysterious. It is worth all the books written on the subject, and without doubt will inspire others.” –Pierre Mac Orlan“Whether or not, as some commentators have asserted, Atget is being distorted here, and a journeyman documentary photographer has been miscast as a modernist, one thing is quite clear: the selection was made with the best of intentions, out of respect for the old man’s work, and it show precisely how it spoke to a younger generation of photographers. By that criterion it is an excellent selection, containing many wonderful pictures and giving exquisite visual pleasure – the most striking images from more than thirty years spent documenting the streets, buildings, parks and gardens of Old Paris” (The Photobook, I. 127). Roth, 60.Original red moire cloth, cover and spine lettered in gilt with rare cardboard slipcase and custom leather bound slipcase. A fine copy.

WINCKELMANN, JOHANN JOACHIM Geschichte der Kunst des Alterthums

FIRST EDITION. "With the publication of his masterpiece, the 'History of the Art of the Ancients', his fame had become widespread. This was indeed the first work in the German language to achieve universal acclaim. Winckelmann had drawn attention for the first time to the importance of Greek ideals for the modern world, and, with his unique acquaintance with the surviving examples of classical art, amplified by wide and specialized reading, his authority was unquestioned" (PMM). “Winckelmann’s History had a remarkable impact for a scholarly antiquarian publication. It presented a comprehensive synthesis of available knowledge about the visual artefacts of the ancient world... Four main sculptural traditions were discussed in detail – the ancient Egyptian, Etruscan, Greek and Roman. What particularly caught the imagination of Winckelmann’s contemporaries, however, and still assures the book a place among the classics of art history, is what Winckelmann himself envisaged as its core, the eloquent and hugely ambitious attempt to redefine the history and aesthetics of the ancient Greek tradition. –Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of the History“[Winckelmann’s] magnum opus is in a class apart, for it completely revolutionized the study of art by treating it organically (Winckelmann was the first to do so) as part of the growth of the human race” –E.M. Butler Quarto. Beautifully bound in recent full sprinkled calf, elaborate gilt tooling to boards, elaborately gilt spine in 6 compartments. Title skillfully mounted, occasional toning and scattered foxing throughout. [With:] Anmerkungen ber die Geschichte der Kunst des Alterthums. Dresden: Waltherische Hof-Buchhandlung, 1764 and 1767. 2 works in 4 volumes bound in one. (The text of Anmerkungen ber die Geschichte der Kunst des Alterthums is quite toned, much more so than the primary volume.)

CAVALIERI, GIOVANNI BATTISTA DE Pontificum romanorum Effigies

FIRST EDITION of Cavalieri's Papal portraits. "[Cavalieri] was probably the single most significant figure of the whole sixteenth century to make visually accessible to a wide public throughout Europe the past personalities and glories of his adopted city.” –Francis Haskell Octavo, 19th century half calf over boards. This issue with an additional gathering a4 and engraved arms of Cavalieri on verso of final leaf, engraved title, engraving of St Peter on a8 verso, second engraved title on [A]1 recto, 230 numbered engraved portraits of the popes, no. 112 in facsimile (pasted); tear on 147-156 neatly repaired without loss, a few light stains.