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Albums and Sketchbooks

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Albums and Sketchbooks

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Heraldry Notebook Manuscript with over 400 Watercolored Coat-of-Arms, Hughes, Mary Elizabeth
121 Hughes, Mary Elizabeth Heraldry Notebook Manuscript with over 400 Watercolored Coat-of-Arms
Acton House, Wrexham, England 1823-1825 Hardcover. Original gilt and blindstamped calf f Very Good 
8vo. 24 by 19 cm. [2], 1-69, 100-103, [1] pages in text part, followed by 100 plates with original watercolored coat-of-arms or escutcheons. These are emblazoned in rich colors and gold, with one to six emblems per page. Some pages have the emblems placed within a painted Gothic window. Mary Hughes it would appear created at least one other heraldic manuscript, a copy of John Guillim's "A Display of Heraldry". Fairly extensive provenance info contained on prelim blank -- it passed from Mary Hughes to Charles Hughes, March 1865. 20th century ownership inscription of George G. Napier, noting he purchased it from Walford Brothers in August 1929. Later book label of Joan Corder. Condition: generally clean, and paintings are fresh, bright. Original tissue guards have survived. 
Price: 2250.00 USD
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[Manuscript] Meinem geliebten Stropp, Hönerbach, Heinz
122 Hönerbach, Heinz [Manuscript] Meinem geliebten Stropp
Cologne (?), Germany 1938-1950 Hardcover. Half cloth. Paper pastedown on board Very Good 
8vo. 21 by 19 cm. Unpaginated, 
Price: 350.00 USD
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The Visits of Constance (Three Albums), Jardine, [Annette] Constance (1876 - 1963), compiler, writer, artist.  Contributions by Charles Crombie, Henry J. Ford, etc.
123 Jardine, [Annette] Constance (1876 - 1963), compiler, writer, artist. Contributions by Charles Crombie, Henry J. Ford, etc. The Visits of Constance (Three Albums)
1898-1920 
I: 25 by 31 cm, oblong, 58 pp. Covering years 1898 to 1901. II: 32 by 43 cm, oblong. Covering years 1902 to 1905. 61 pp. III: 33 by 43 cm, oblong. 60 pp. following by blank card leaves. Covers years 1907 to 1920s (latter part is more scattered). Among the watercolors are two by Charles Crombie, both of the rules of golf, a few years before he had similar work published in his “Rules of Golf”, and two by Henry J. Ford. With approx.. 67 watercolors, 38 pen and ink and 6 pencil drawings. (These elude a precise count since the images are sometimes a collage and thus a matter of opinion whether they represent discrete illustrations. In just one instance, we counted as a single pen and ink drawing a group that might as easily be regarded as a dozen individual drawings. Some of the items might appropriately be described as vignettes or cameos; when there are a few of these, all somehow related, on a single page, we count them as just one. When a picture carries over onto two pages, we count that as one. The watercolors generally have some pen and ink work, but the result reads as a watercolor painting. Among the works tallied as pen and ink illustrations are a few with a small quotient of color, including watercolor. Since in our judgment the pen and ink aspect of these pieces dominates, we treat them as pen and ink.) These are a remarkable set of three albums chronicling weekend visits to numerous grand country homes during the Edwardian Age. The compiler, Constance Jardine, was a cinch as a popular guest, blessed with good looks, connections, talent, and one can surmise, charm and an ingratiating personality. She was clearly someone who reveled in the comforts and privileges that were a part of the whole way of life that was soon to unravel with the upheavals brought on by the First World War, death taxes and the whole reordering of society that went along with “modernity”. These disruptions figure into the latter part of the third album, as the entries change in character and the organizing principle no longer centers around particular weekend jaunts. But until that point, the albums can be enjoyed by us as pure escapism to Jardine’s milieu. If you ask us, Jardine invites us to do that, just as she must have enthusiastically shared her albums with her hosts and fellow guests. One can picture her producing the album in progress at tea, or perhaps by a fireside on a rainy day, letting others leaf through its pages, and exhorting them to contribute a clever verse, a funny drawing, or simply their autograph. Hers was the rarefied world now popularly recreated with the hit serial series, Downton Abbey. Or was it? Downton Abbey and other fictional works like it offer a very loose parallel, since there were layers and divisions within that “world”. Never do we encounter Royalty in the albums, nor were the parties overflowing with dukes, viscounts, prime ministers or other ranking cabinet members. Constance’s itinerary did not take in the most magnificent and storied of estates – places like Woburn Abbey, Chatsworth, Castle Howard or Blenheim – and some of the homes look comparatively modest. Rather, the album covers what we might regard as the more ordinary rich at play. There are a handful of the genuinely fame, but most could probably have walked across Trafalgar Square without causing heads to turn. In the context of social history, this is part of the value of these albums; they offer us a glimpse on the upper class of that time and place akin to what we might find in a Henry James or John Galsworthy novel, but without being mediated by an author who has molded the material to fit his own literary ends. In this far more expansive layer of the upper crust it was not conceivable that everyone knew everyone else, even by reputation, but the pleasures of social life were just as great, if not more so, than the pageantry of a weekend where the guest list was culled down to the “cream” of society, and where some of the fizzle was from the deliberate bringing together of people not well-acquainted with one another. For all its brilliance, this Cliveden sort of weekend, and all its accompanying intricate choreography, had an oppressiveness side to it. One can tell from the albums that things were more relaxed during one of Constance’s country house weekends. Since the same names crop up time and again, we can deduce that many of the guests were part of one or two circles of friends. Their days in the country were filled with angling, foxhunting, rabbit hunting, upland bird shooting, croquet, croquet, tennis, golf, card tables, balls and masquerades. Or they might spend an afternoon taking in the race track or a regatta. Which activities were pursued depended a lot on the location and the season, obviously. Not to contradict the argument of the prior paragraphs, but there were some recognizable names among those Constance spent these weekends with. We encounter the autograph of the composer Ralph Vaughan Williams a number of times. One weekend included John Hay, the American Secretary of State and formerly the ambassador to Great Britain. From the business world a regular was Ralph Slazenger, a founder of the eponymous sporting goods company. We come across repeatedly members of the Bonham Carter and the Vernon-Harcourt families, both names with name recognition still. Without question there were others, now forgotten, who had some renown in their day. The list of properties visited is long, with multiple visits to many of the estates. The properties were scattered throughout the British Isles, and many have names with a poetic lilt. A few are now on the National Trust; others have long ago been converted to other uses, including corporate retreats, nursing homes, condominiums, and not a few have fallen victim to the wrecking ball, as their high cost of maintenance and the tax code conspired to incentivize their destruction for many years of the mid-twentieth century. The properties include Fulmer House; Kilmartin, Drumnadrochit; Paxhill Park, Lindfield, Sussex; Leith Hill, Dorking, twice; Oldany Lodge; Lochinver; Urrard; Orche Hill, Gerrard’s Cross, Uxbridge; Dunninald; Kincardine; Brahan; Rushwood; Stronchreggan; Stradishall Place; Hyde Croft; Farrants, Bickley, Kent; The Grange, Goring-on-Thames, twice; Kirkside, St. Cyrus; Kilberry, Argyllshire; Kilkerran House, Maybole; St. Martin’s Abbey; Sirmshail (?) Place; Aldershot; Northerwood Park, Isle of Wight, twice; Summinghill; Peddybill Park; Kirkside; Aldourie Castle, Inverness; Cudwells; Heacham; Alderbourne; Noraher Wood; Mile Bush End, Leighton; Connemara; Banff; Ollenuyon (?); Smallfield Place, Burstow, Surrey; Knowle Park; Ruthden; Lethen; Bradfield; Frensham; Auchendarroch, Lochgilphead; Pickeridge; Monserrate; Fast Liss; Hardwick; Mainstone Court; Balnamoon; Auchendarroch; Pennyhill Park, Bagshot; Druminnor, Rhynie, Aberdeenshire; Banchory Lodge; Hollington; Welford; Waldershare; Lilliput; and finally, Townhill. Some of the visits, it is clear, lasted a month or longer, while others were undoubtedly shorter. Not all the homes were palatial, as one can see from the illustrations and photos. This does not mean that the more modest homes were not comfortable. Curiously, there are pictures of all the properties from the outside but few of the interiors. In 1914, Jardine made a trip to India, and at this point the album is tantamount to a photo album, with some other ephemera thrown in, such as a dinner invitation from the Aga Khan. The photos record some of the lifestyle of the Raj just before it entered its twilight years, but they are not necessarily distinguishable from those of other privileged Anglo tourists of the same era. During the war the entries take on a decidedly more somber tone, as Jardine herself volunteered for various organizations, like so many other women of her class and station. There are a few clippings from benefits, a whole page devoted to signatures of patients at an officers’ hospital in Devon, a large Red Cross certificate recognizing Constance’s volunteer contributions. Amongst these are several photos and clippings of more or less normal recreational activities – life did go on. Following the war, we get a handful of photos of estate houses and staid family photos – Constance was now herself comfortably middle aged. Gone is the hedonism and the artistic panache. Essentially, the album-keeping does not so much stop abruptly as much as it peters out, just as the lifestyle it celebrated also became a thing of the past. Constance Jardine (she appears not to have used her first name Annette much) was born in 1876 in East Grinstead, Sussex, England. She married Robert Jardine in 1897, shortly before these albums got under way, and they maintained a home at 69 Cadogan Place in London, which remains a highly desirable address in Belgravia. Robert Jardine passed away in December, 1930. In 1934, Annette married the younger Captain Arthur Granville-Soames, who had divorced his first wife earlier the same year. Granville-Soames was a member of His Majesty's Coldstream Guards, the father-in-law of Winston Churchill's youngest daughter, and the owner of Sheffield Park, an important estate that he was to sell in 1954. That marriage did not last; they divorced sometime before 1948, when Captain Granville-Soames married a third time. It would appear Constance did not remarry since in her obituary she had held onto Soames as her surname. Little is known about how Constance lived out the rest of her life. Albums maintained by visiting guests, and also organized around the houses experienced, are not unique to these kept by Jardine. But one comes upon such guest albums far, far less often than those kept by the hosts, and we know of no other example of such guest albums with anywhere near the same caliber and scope of Jardine's three heavy books. As a window on the past, the Jardine albums offer us a different voyeuristic experience from that found in even the most elaborate of host albums. Somehow Jardine's compilation captures a restless energy and movement of these party weekends. 
Price: 24000.00 USD
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Album of Comical Drawings, Jones, J. Kenyon
124 Jones, J. Kenyon Album of Comical Drawings
Quarter Leather Very Good 
N.d., circa 1860. 8vo. 19 by 11.5 cm. The drawings poke fun of fat people, philanthropists, indulgent pet masters, street urchins, dandies, etc. The cartoons could very plausibly have appeared in "Punch" magazine, for they are generally very well executed artistically, with visual humor that speaks for itself, and a number have captions that can bring a chuckle even to a modern reader. The humor tends to be gentle, directed at very human foibles, of which paramount is the lack of self-awareness in the subject. While most of the drawings are free-standing, with a few tied together in a short narrative, there is a strong cohesiveness to the whole album. Leafing through it should transport one to mid-Victorian London to witness some of its ordinary absurdities and quotadian collisions between people from different walks of life. Overall, it is the visual aspect of the drawings that will bring the widest smile. Rebacked, with skiver (pig). Heavy wear to boards. Scattered soiling within, most on the surviving tissue guards. 
Price: 1450.00 USD
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Silver Birch Cut-out Album, Kellogg, Carrie
125 Kellogg, Carrie Silver Birch Cut-out Album
Birch Bark Very Good 
A most extraordinary, and unique, example of American folk art. Within the covers made of silver birch bark are 43 "leaves", or pages, with intricate cut-outs of silver birch into silhouette-like illustrations, except ones to which fine penwork adds details. These also bear a resemblance to Chinese paper cut designs, but unquestionably working with the thin wood was even more demanding. Even more remarkable is that everything is threaded together in a loose pictorial narrative revolving around a countess and her pets. The illustrations themselves are enchanting, with the book opening with a depiction of her pet parrot, her pet monkey, the countess giving alms, boys chasing the cat, and on and on. The story itself is beside the point, except it does contain an element of caricature. The attention to detail is exemplified in such things as one illustration with the cat's tail raised in the air, its fur standing on end. No cat owner wouldn't recognize the fidelity to reality of the representation. The story and cut-outs are entirely on the recto, with sometimes a single picture, other times, up to four, on the page, and the facing page has offsetting, which here is entirely for the good, as the sharp offsetting, no doubt a result of the sap in the birch, is a truly silhouette impression which picks up the birch but not the inkwork, and this different but complete image is itself quite satisfying to view. N.d., circa late 19th century. It is unknown where Ms. Kellogg created this album, but it is presumed to be either New England or New York State. Oblong, 13 by 20 cm. The birch cover has had several archival tape repairs done on the inside, one to counter a split that occurred down the horizontal center in front. A similar split down the center of the first blank leaf has also been repaired, but without the use of archival tape. The birch of the cover remains brittle and needs to be handled tenderly. Besides this, a few leaves have minor corner creases and/or insignifcant corner chips. 
Price: 4500.00 USD
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126 Kennedy, John Barkley ((1863-1938) Sketchbook of pencilled portraits
Ware, Massachusetts (Springfield) and New Haven, Connecticut 1881-1888 Quarter modern calf. Pebbled cloth boards. Good 
Oblong, 11 by 20 cm. 36 leaves, all portraits, 117 in all, and two still lifes, on rectos. Some portraits are captioned with names and dated, and a few leaves are also signed, with location given. The portraits are clearly by an amateur, or a developing, hand, yet even the most awkwardly executed of these portraits, one can sense, imparts a rather credible likeness of the subject, with a few of the portraits undeniably life-like. All of the portraits render their subjects with serious, rather grim expressions. We can't say whether this reflects a limitation by the artist or was deliberate, as sober expressions were the norm back then. Whether intentionally or not, Kennedy would appear to capture a cross-section of middle class or upper middle class New Englanders of the day, and we regard this sketchbook as a rather special specimen of late nineteenth century Americana. Kennedy, the artist, came from the Springfield, Massachusetts area, where he worked first in a woolen mill and later as a book-keeper. After marrying a woman from New Haven in 1892, he moved there and worked both in the insurance industry and as a railroad clerk. He ultimately retired back in Ware, where he was born. 
Price: 950.00 USD
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[Sketchbook]  Fashion Diary for Vanity Fair.  Nov. '96, Knight, Hilary
127 Knight, Hilary [Sketchbook] Fashion Diary for Vanity Fair. Nov. '96
October 25 to November 1, 1996 Hardcover. Leatherette. Very Good 
4to. 28 by 21 cm. About 80 pages with substantial illustrated content, all original sketches, of varying degrees of finish, with the media being pencil or pen-and-ink, with occasional watercolor fill-ins. While some of the drawings are very obviously dashed off to retain some visual notion for later application, there are some drawings that do read as quite finished, or fully satisfying visually, whatever Knight's state of mind about them at the time. And most of the illustrations are about fashion week, the models, the designers, the fashionistas, the Society clientele, and the other inhabitants of the fashion world. The pleasure to be derived from the sketchbook is how so magnficently Knight captures the milieu. He is less concerned with the fashions themselves than the players at the event and the theatricality of the whole thing. Here we see so many with dangling cigarettes, big sunglasses, studied nonchalant expressions while devouring everyone else in their gaze, the men -- not just the designers or industry people such as John Fairchild but the ones whose presence is more enigmatic. The paradox of the serious and frivolous that coexist in fashion Knight gets. Knight's extensive background doing theatrical illustration and design is put to very good use. And as true of his most famous children's book illustrations for the Eloise series, he creates indelible imagery with extraordinary economy -- no scribble on the page is wasted, one might say. And of course, anyone fascinated by fashion, celebrity or New York Society will feast on the recording of the rich and famous captured here. Fashion shows covered include Caroline Herrera, Ralph Lauren, Anna Sui, Todd Oldham, etc. Portrayed are Hugh Grant, Liz Hurley, Kerstie Alley, Woody Allen, Donatella Versace, Butch Mullins, Bruce Webber, Dawn Mello, John Simon, Reinaldo Herrera, Elizabeth Tilberis, Bianca Jagger, Grace Coddington, Anna Wintour, Hamish Bowles, Demi Moore, John Epperson (Lypsyinka), Naomi Campbell, Linda Evangelista, etc. One of the most indelible images is a color sketch of Dave Navarro of the Red Hot Chili Peppers who is causing a commotion when he reveals he is wearing red lace panties under his leather pants as he thrusts out his waist on the runway at the Anna Sui show. Some of the interior sketches unrelated to the fashion shows may be sketches of the Plaza Hotel interior that Knight drew as he was working towards the fifth Eloise book, "Eloise Takes a Bawth". WIth a printed name label ("Hilary Knight") affixed to both the front and rear cover. This card has a silhouette illustration of a young Knight, Eloise and her pet cat and turtle, and inked in red is a title ("Fashion Diary for Vanity Fair" on the front, simply "Vanity Fair", on the back.) With, on FFEP blank, is a Knight bookplate, also with a silhouette illustration showing him as an artist, along with a few animals. Also some improvised tabs made by Knight. Note that the sketchbook starts from both sides, but with the vast majority of drawings beginning on one of the sides, which we regard as the front; the other side has a mix, with some drawings of decor that may not all relate to fashion week, although some of them do, if peripherally. Condition: light wear. 
Price: 10000.00 USD
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Album, L'Huintre, Celeste
128 L'Huintre, Celeste Album
1848 Quarter Calf. Very Good 
A remarkable student notebook, with manuscript maps, calligraphy and other artwork. Oblong folio, 31 by 48 cm. 33 pages with content, much of it visual. Much of the artwork is mounted onto the leaves, while textual material, written with a calligraphic hand and decorated with filigree vignettes, is generally done directly onto the book's leaves. The four maps include one of Africa, the Americas (the Western hemisphere), Australia, including Oceania and Eastern Asia, and the world as shown in two hemispheres. The maps are very striking -- they are enhanced by small illustrations and/or decoration. Topics discussed textually include orthology, grammar, English, and a table on the French monarchy. While French pedagogy placed an emphasis on aesthetic presentation far beyond schools elsewhere, this notebook or album far surpasses the norm in its beauty and the care obviously applied by Ms. L'Huintre. 
Price: 3000.00 USD
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Merton College Caricature Album, Leather, R. S.;  S. C. Deed;  L.D. Fox;  the Freak;  G. J. M. Hardy;  and others probably
129 Leather, R. S.; S. C. Deed; L.D. Fox; the Freak; G. J. M. Hardy; and others probably Merton College Caricature Album
Oxford, England 1899-1904 Half Leather Very Good 
Madcap "salad days" from back when! 4to. 30 by 25.5 cm. Unpaginated, 20 pages with caricatures mounted onto card rectos. Additional blank card, and a number of drawings that are loose, some of which were probably always so. In total, 91 separate pieces of overwhelmingly, caricature, of varying size, and ranging from simple portraits, exaggerated in one way or another as called for by the medium, to multi-character cartoons, or depictions of a scene, with dialogue bubbles and captions. The caricatures center around, but are not confined to, the doings and personalities of Merton College, Oxford. A few of the portraits would appear to be of Theodore Roosevelt, for example. Many, but far from all, of the mounted caricature illustrations are signed or credited, although we think it is quite likely that pseudonyms were used, as was obviously the case with "the Freak". The album is quite unusual, then, in its creation, with multiple contributors, something common in a friendship or amicorum album, which this decidedly is not. We would surmise that the contributors were members of an informal club of artistic anarchists. The quality is not entirely even, as might be expected from such an effort, but overall, the caricatures are vivid and amusing, with quite a few displaying true artistic cleverness. Rebacked in matching calf. Wear to the corners and edges. Some scrappiness to interior. Paste marks where there once were a few mounted pieces. 
Price: 1350.00 USD
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Student's Design Notebook plus Additional Watercolored Designs on Separate Sheets, Lebrun, S.
130 Lebrun, S. Student's Design Notebook plus Additional Watercolored Designs on Separate Sheets
Hardcover. Cloth spine. Marbled paper pasted on Good 
Well executed, impressive assortment of designs done by a capable, advanced French student. N.d., circa 1900. Folio, 35.5 by 22.5 cm. Notebook with 41 pages of content, plus 21 loose sheets with watercolored designs, filling out pen-and-ink or penciled outlining. Notebook pages ruled vertically down middle, with French descriptive text on left, designs described on right. 28 pages of the notebook have more or less fully realized and satisfying watercolored vignettes, generally done directly onto the page, with a few vignettes on mounted sheets. Other pages have designs only in light pencil, partially finished, or no illustrations at all. The notebook paper is graph paper. Designs are widely varied: Egyptian stylized bird iconology, vases and urns, lanterns and chandeliers, glassware, diaper ornaments, steeples or crockets, columns and friezes, Gothic, Arabic, Renaissance, etc. In the notebook, floral and leaf ornaments are especially salient, and an Art Nouveau sensibility often comes through. Condition: moderate wear to notebook, some crinkling and edgewear to the separate sheets, which are on a heavier paper stock, we would note. 
Price: 975.00 USD
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Comment voudriez-vous voir R. L. Dupuy, LeConte, Paul, directeur.  Also Dancette, Truan, Picherit, Neven, Petrus, Petan, etc.  (employees of Dupuy)
131 LeConte, Paul, directeur. Also Dancette, Truan, Picherit, Neven, Petrus, Petan, etc. (employees of Dupuy) Comment voudriez-vous voir R. L. Dupuy
1951 Cloth Near Fine Very Good Jacket 
Unique collection of 74 watercolors, ink drawings, collages and mixed media playful caricatures of a Parisian advertising executive, presumably by members of his creative staff. Most of the individual send-ups are imaginative and amusing; the cumulative effect, though, is truly extraordinary in the sheer variety and range of the works. As a whole the album honors not merely a particular individual, but the human creative spirit! Thus we have a Soviet Dupuy, an angelic Dupuy, an overworked Dupuy, a gaucho Dupuy, a scout Dupuy, a wandering eye Dupuy, a lolling Dupuy; he is depicted as a painter, a mariner, a general, and on and on. These various roles assigned to him scarcely suggest the richness of ideas of the particular artwork. In just one drawing, showing the executive in a bathtub, we see floating atop the water the names of products, presumably ones he promoted, and other names spraying over him from the showerhead. Dupuy, based on the wealth of images we have of him, was a quintessential Frenchman in his appearance; we can also surmise that he was beloved, if not also feared a bit, and certainly, he had to have had a charisma, for few businessmen have probably ever received such an effortful and remarkable tribute as represented by this manuscript. The folio measures 33 by 28 cm, 13 by 11 inches. With a dust jacket that at its center has a cameo relief of Dupuy himself. The DJ, now protected with mylar, has use creases, minor spotting and toning. The leaves are all clean, and the album is tight. 
Price: 6250.00 USD
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Diary Notes of a Tour in Switzerland, Belgium & Holland, Littlewood, William Henry (1838-1919)
132 Littlewood, William Henry (1838-1919) Diary Notes of a Tour in Switzerland, Belgium & Holland
1892 Card stock Very Good 
Oblong, 18 by 22 cm. Manuscript map of Swiss route, following by 85 numbered loose leaves, all with typed text and 55 with charming original watercolors, most very bright (we have counted a few chapter heads when they have a pictorial element). The artwork is always beautifully composed on the page, with the typing worked around it. All content on the rectos. Also the front and rear of the cover are beautifully embellished with multiple watercolored pictures, including a Swiss lakeside view and a Dutch windmill, the several images seamlessly blended together while remaining also separate. The back cover shows a Swiss woman in traditional dress with a backdrop view of Interlaken, and additional decoration in the foreground, as a sort of framing, of butterflies. Paintings begin in England, as Littlewood embarks on trip, with a painting of Ely and Lincoln Cathedrals. Several paintings are of boats, including the steamer boarded to cross channel, and one of Antwerp. Beautifully depicted are sights in and around Lucerne, Tell's Chapel in Altdorf, Interlaken and the mountain meadows nearby, sights in Brussels, Rotterdam, Scheveningen, a Dutch beach resort, and especially in the last chapter, Littlewood captured the picturesque people of the area. Littlewood was a successful architect based in Manchester, England. As a student at the Manchester School of Art he received the Student's Silver Medal for Drawing and Painting in 1856, and he continued to exhibit his watercolors with some regularity in Liverpool and Manchester up until 1913. Later he was a partner in an architectural firm that had a robust practice with public commissions as well as a strong reputation doing piers and concert pavilions at such resorts as Blackpool. At the time of this vacation trip Littlewood was in his mid-sixties, but clearly he was someone who kept active with painting and more active observation than is the norm for tourists now, and surely, then. And as this labor of love attests, he is someone who ably exercised his artistic facilities. The written diary is not a great literary monument -- it mostly supports the artwork, providing a crisp, terse description of the sights. 
Price: 2500.00 USD
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Tulip Album, LM
133 LM Tulip Album
Haarlem, The Netherlands Bond van Bloembollenhandelaren Cloth Very Good 
A most unusual and beautiful collection of flower cards. N.d., circa 1920, based on the Art Deco design of the album cover -- the cards could possibly be slightly older. The album contains 32 cards of chromolithographic images of various types of tulips. The cards are each 18 by 14 cm, and the album itself is 30 by 21 cm. The artist is unknown, other than the initials LM that are on some of the cards. While the cards are Dutch in origin, the written content is in English. Each leaf comes with a tissue guard. The album cover, which opens from the bottom, is bowed. Some of the tissue guards are chipped and perhaps a bit brittle. 
Price: 500.00 USD
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Heraldry Manuscript, Logie, Edward (?)
134 Logie, Edward (?) Heraldry Manuscript
Wraps. Marbled paper on card. Very Good 
N.d., circa 1852. Oblong 4to. 26 by 37 cm. Ten leaves, or 18 pp., with thirty different watercolors of armorial banners. The images are extraordinarily bright and beautiful; these paintings were by an accomplished, confident hand. The imagery is of three basic types: squarish banners held up by stylized animals, long triangular-ish armorial pennants, and armorial rectangular paintings that are not shown as part of a flag or banner. The presentation is chronological based on monarchs, beginning with Edward III and running to Henry VIII and his wives, Anne and Jane. The name of the particular monarch associated with an image is written in ink with a neat hand. The dating is based on a watermark, and the artist, on a pencil inscription. 
Price: 1600.00 USD
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Crests and Monograms., Lumsden, Edith Shaw
135 Lumsden, Edith Shaw Crests and Monograms.
Belhelvie Lodge, Aberdeenshire, Scotland Half Morocco, Cloth Boards Very Good 
4to. 29 by 23 cm. 19 pp. with watercolors mixed with monograms, followed by one incompletely done page and blanks. While no one would mistake Lumsden for a professional artist, the watercolors are uniformly pleasant, and a few of the paintings stand out as meriting separate mention, among them, the title page on which a man is pasting a "sign" with information about the album (the artist/collector, etc.) onto a stone wall. Other images include a diaper of serpents, a woman carrying a sandwich board sign, an archery target, a fireplace, a heavily draped window, an artist's palette, butterflies, flags, an arrangement of ornamental garments, an elaborate medal. Other than the title page, all the watercolors have monograms worked into the design, sometimes quite cleverly. Some of the imagery is comparatively standard for this sort of album, while other pictures are more original. Curiously, among the most striking collages are the ones without elaborate figurative imagery but rather the patterned diapers, especially the interlocked snakes, which is something we have never seen done quite like here. The collection of monograms and crests was a popular pastime in the nineteenth century when the use of monograms was also prevalent among the upper classes, and the collectors of these tended to be the offspring of the well-to-do with the leisure time to indulge in such a hobby. Most monogram albums are appealing yet limited in their artistry, with the compiler simply pasting the monograms into printed slots, without any extra illustration by that compiler. Far scarcer are the albums such as this one in which the compiler used the monograms as a springboard or excuse for greater flights of creativity. In this album, the surnames of the possessor of some of the monograms are pencilled into the margins. The leaves are of a fairly heavy thickness, not quite a card stock. Rebacked handsomely in brown morocco. 
Price: 3750.00 USD
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Album of Caricature and Satirical Drawings, most of which is entitled,
136 Lynn, Frank G. Album of Caricature and Satirical Drawings, most of which is entitled, "From Punch's Book of Ancient British Costumes"
England 1860-1879 Hardcover Very Good 
Small folio, 31.5 by 26.5 cm. 55 pp. with content, including 106 original drawings, most of which are mounted, and a few are drawn directly into the album, and six additional printed cartoons by Lynn. Most content on rectos, with the occasional verso having content on part of its page. (Six blank leaves in back.) We have been unable to find out anything about the artist, other than his name. The bulk of what is here is indeed copied from "Punch's Book of Ancient British Costumes", which was a series illustrated by John Tenniel in 1860, and which ran in issues through most of that year. Here the text is abridged from the original, but is often verbatim from the original. Virtually all the illustrations are copied, but do not appear to have been traced, with small modifications discernible. Because the drawings here are done with pen and ink and are not printed, they come off as sharper and richer than their inspiration. To our knowledge, the Tenniel series was never assembled together to form a single book, and so there is satisfaction to be derived here from having the series brought together as such. Nine pages of the album are devoted to fourteen cartoon drawings. We have no way of knowing whether these are copies or totally original by Lynn, who initialed these as well, and wrote captions, often with dialogue, either on the mounted paper or on the album paper beneath the mount. One of the drawings was drawn not by Lynn but a schoolfellow. That tells us that most of the album was kept by a student. 
Price: 3850.00 USD
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137 Mariska, Gibitz Design Book of Gibitz Mariska
Hungary Paper laid on boards Good 
Oblong folio, measuring 16 by 10.5 inches, or 41 by 27 cm. N.d. Circa early 20th century. 27 original watercolor patterns or designs by Gibitz Mariska, and most of the leaves are signed by him. Nothing is known of Mariska, but from these drawings of ornament and design it is clear he was a talented designer, and his eclecticism captured the catholic, and sophisticated tastes that prevailed in fin-de-siecle Central Europe prior to the devastation, moral and aesthetic, of the First World War. Here are diapers, or patterns, of ornament, geometric, floral, modernistic at times, at others, reading as Renaissance, Art Nouveau or Baroque in their styling. While some of the drawings evoke patterns to be found in the great style books, there is always an originality invested in these as well. Besides Mariska's name, we can pinpoint the origin of this album to Hungary and Budapest because the paper was made by a Budapest firm (Seefehlner or Gradl F. Adolf). The spine has been rebacked. The boards, with moire paper laid on, are considerably soiled, with a few large stains. The margins of the plates can be grubby. All the watercolors are bright and fresh. 
Price: 2500.00 USD
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Scrap Book Vol. I Poetry Album with Naive Watercolors, Moggridge, M. Weston
138 Moggridge, M. Weston Scrap Book Vol. I Poetry Album with Naive Watercolors
England 1845 Leather spine, marbled paper on limp card for boa Very Good 
Charming naive watercolors illustrating well-known poems and excerpts from Shakespeare. 8vo. 19 by 16.5 cm. Unpaginated, 90 pages of verse and 46 watercolored illustrations. Most of the watercolors are on rectos, a few on versos, and a few instances of both. While only two of the watercolors is full page, most dominate their page, regardless of size, arresting the eye, whether place above, below, in the middle, or to the side and wrapping around the verse. The poetry is wide-ranging, with some prevalance of battle, patriotic and Scottish subject matter. Poems include "The Battle of Trafalgar", "Ode on the death of a cat", "The Bonnets of bonnie Dundee", "The Inchcape Rock", "Chevy Chase", "The Cheviot Hills", or from Shakespeare, "Ariel's Song", long passages from "Julius Caesar", "Richard II" and "Henry IV". As to the folk art-ish quality of the artwork, our supposition is that these were done by an adolescent man. The human figures are generally rather simply rendered, lacking perhaps in detail and individualized nuance, while never violating proportion and never coming off as coarse. Ships, foliage, background, virtually everything else, is done prettily. Overall this album has a lovely cohesive charisma that sets it apart from so many early Victorian albums of the type. The name of M. Weston Moggridge is inscribed and dated on the inside cover and so we presume he is the artist. Moderate wear. 
Price: 2250.00 USD
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139 Nellie Signe Lange Album of Original Sketches and Watercolors by Nellie Signe Lange from 1922 to 1926
Pike, New Hampshire Cloth Good 
13 leaves with original artwork. All art is on the recto, and cumulatively, there are seven pencil sketches and ten watercolors, some pasted onto the pages, others applied directly, but indisputably the best or most charismatic of the illustrations were applied directly, and additional, the best watercolors happen to also be full page. The leaves are from an account ledger, and many of the original pages were razored out. In all likelihood Ms. Lange requisitioned or was given an old ledger from her father's office to use for her art project, and then she cut out leaves that had artwork she was ashamed of. The pages are tall, measuring 32 by 22 cm, 13 by 8.5 inches. This was the album of a teenager who was still very much learning how to draw and paint, and thus we see efforts ranging from crude to more accomplished. A few of the works stand out as clever or eye-catching, even though one is unlikely to mistake them for professional handiwork. One can surmise that Ms. Lange may have been studying art, perhaps in a correspondence course such as was popular at the time; a few of the works seem imitative and possibly even copies of originals, and the template is quite similar to drawings found in other similar albums. It would be surprising, regardless, if such an aspiring or amateur artist would not have sought to emulate and copy what else was out there. But some of the seemingly stereotypical images are of actual people, and so one should not be tricked by the styles into confusing likenesses with samenesses. The best images include that of a soigne flapper applying lipstick, compact in hand, a mother kissing an infant with startled eyes, a young girl hugging a doll tightly while holding loosely the Christmas gift of a doll in a box, and this one has the caption, "Prefers the Old Friend", and a young woman concealing the lower part of her face with a fan. The pencil sketches ar mostly portraits, with one simple sketch having elaborate lettering serving as hair and facial features. The FEP, besides ownership information, carries the couplet: "If this book should chance to roam, Box its' ears and send it home." The heavy buckram cloth of the cover has pencil notes on it and the date 1917, when it was probably given to Nellie. The interior has some soiling but the imagery is generally quite clean. Interest in this item, regardless, will not be from the binding, but rather the insight into a young woman's mind, her aspirations to express herself artistically and finally the charm of some of the illustrations. 
Price: 275.00 USD
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Album with Twenty-Two Watercolors, Mostly Botanical, Twelve Other Original Drawings and a Few Prints and Poems, Newland, E. F. S. (mostly)
140 Newland, E. F. S. (mostly) Album with Twenty-Two Watercolors, Mostly Botanical, Twelve Other Original Drawings and a Few Prints and Poems
England 1863 - 1869 Full Blindstamped Morocco Very Good 
4to. 29 by 24 cm. The watercolors and other drawings, which are mostly mounted, are generally of exceptional quality. Botanicals dominate, especially in terms of the watercolors, in which eleven or twelve can be so categorized. Of these, three feature fruit prominently, and another three show bouquets. One of the most charismatic of the colored artwork is a page with illumination and Gothic calligraphy. In this, there is floral decoration and small butterfly figures. Another striking page is dedicated entirely to butterflies, with a larger watercolor done on pith paper, in a Chinese manner, at the center, and cut-outs of watercolored butterflies, also probably on the same kind of paper, in the corners. Not to be overlooked are two portrayals of birds, and most unusual is a pencil and watercolored drawing of a snake. There are two portraits, one of Napoleon, which is probably printed and hand-colored, and another of William Lenthall, a seventeenth century Parliamentarian, which appears entirely painted. The pencil and charcoal drawings are more varied, with depictions of children, a steamship, ruins, bucolic settings, portraits, etc. The watercolors are often initialed, and we know the identity of the artist became it is written in Gothic calligraphy, as well as dated, on an otherwise printed page that has hand-colored ornamentation. There is one outlier, dated 1890 and initial B. A. R., and one other watercolor that stylistically would appear to have been done by the same hand, but most of the drawings were clearly done by Newland and come from the 1860s. The album itself, by which we mean the binding, is probably quite a bit older, since one of the prints within it is dated 1828, and the kind of blindstamping is typical of an earlier day. There are also several poems written out in a neat cursive. It is, though, the artwork that sets this album apart from others of the same period and genre. A few pieces are loose. The binding is heavily worn around its edges, chipped on the spine, abraded in a number of places, and repaired along its joints, yet still a handsome cover. 
Price: 950.00 USD
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