• <b>Bonhams, Dec. 13:</b> KEPLER INVESTIGATES PLANETARY MOTION. KEPLER, JOHANNES. 1571-1630. $400,000 to $600,000
    <b>Bonhams, Dec. 13:</b> THE FINAL ILLUSTRATION OF POOH AND PIGLET IN THE HUNDRED ACRE WOOD. $250,000 to $350,000
    <b>Bonhams, Dec. 13:</b> GUTENBERG BIBLE LEAF. $60,000 to $90,000
    <b>Bonhams, Dec. 13:</b> ORTELIUS, ABRAHAM. 1527-1598. $20,000 to $30,000
    <b>Bonhams, Dec. 13:</b> KNIGHT, HILARY. "Christmas Dinner at Maxime de la Falaise's" $4,000 to $6,000
    <b>Bonhams, Dec. 13:</b> GERSHWIN WORKING MUSICAL MANUSCRIPT PAGE FROM <i>OF THEE I SING.</i> $3,000 to $5,000
    <b>Bonhams, Dec. 13:</b> GILBERT, W.S. Original typed manuscript for <i>The Story of the Mikado.</i> $20,000 to $30,000
    <b>Bonhams, Dec. 13:</b> FINAL TYPED MANUSCRIPT FOR V.C. ANDREWS CLASSIC <I>FLOWERS IN THE ATTIC.</I> $4,000 to $6,000
    <b>Bonhams, Dec. 13:</b> ANNOTATED TYPESCRIPT DRAFT FOR KIPLING'S FINAL MOWGLI STORY. $20,000 to $30,000
    <b>Bonhams, Dec. 13:</b> PRESENTATION COPY OF GUYS AND DOLLS. $12,000 to $18,000
    <b>Bonhams, Dec. 13:</b> CHARLES DICKENS' CHINA INKWELL FEATURING A BEE READING, FROM GAD'S HILL. $6,000 to $8,000
    <b>Bonhams, Dec. 13:</b> NELSON'S BATTLE PLAN FOR TRAFALGAR. $200,000 to $300,000
  • <center><b>Sotheby’s<br>Age of Wonder<br>Nov. 25 – Dec. 9, 2022</b>
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> Darwin, Charles. His definitive statement on natural selection, and his legacy. $600,000 to $800,000.
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> Darwin, Charles and Alfred Russel Wallace. Darwin announces the theory of natural selection. $250,000 to $350,000.
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> Jenner, Edward. Autograph letter, addressed to Dr. Wollaston, dated 21 November 1800, discussing the possible ill-effects of vaccination. $12,000 to $18,000.
    <center><b>Sotheby’s<br>Age of Wonder<br>Nov. 25 – Dec. 9, 2022</b>
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> De Quincey, Thomas. Autograph letter signed (Thos. De Quincey). "A conclusive experiment on the profit of leaving of leaving off opium.” $6,000 to $8,000.
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> Melville, Herman. <i>Moby-Dick; or, The Whale.</i> New York: Harper & Brothers, 1851. “And God created great whales.” $20,000 to $30,000.
    <b>Sotheby’s, Nov. 25-Dec. 9:</b> Foote, Eunice Newton. "Circumstances affecting the heat of the sun's rays," [In:] <i>The American Journal of Science and Arts…</i> New York, 1856. $8,000 to $12,000.
  • <center><b>Christie’s<br> Valuable Books and Manuscripts<br> London, 14 December 2022</b>
    <center><b>Christie’s<br> Valuable Books and Manuscripts<br> London, 14 December 2022</b>
    <center><b>Christie’s<br> Valuable Books and Manuscripts<br> London, 14 December 2022</b>
    <center><b>Christie’s<br> Valuable Books and Manuscripts<br> London, 14 December 2022</b>
    <center><b>Christie’s<br> Valuable Books and Manuscripts<br> London, 14 December 2022</b>

Rare Book Monthly

Articles - March - 2018 Issue

Wiener Werkstätte - The Luxury Of Beauty

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Wiener Werkstatte, 1903-1932: The Luxury of Beauty.

Unless you’re a hard core Vienna enthusiast in love with the many kinds of art, architecture and design produced by the Wiener Werkstätte (WW) between 1903 and 1932, you might want to scroll past this story.

 

But if your eyes lit up reading the January 18th article by architectural critic Martin Filler in the New York Review of Books covering the recent WW exhibition at the Neue Gallery in New York, and if you were even more delighted when a copy of the catalog weighing a solid eight pounds actually arrived - well keep reading.

 

Though much has been written about the art and artists of the era, this 576 page book is a real tour de force - bringing together new and detailed scholarship (especially where the group’s finances are concerned), excellent photography and covering the entire range of the work.

 

The show itself was comprised of more than 400 objects including furniture, glassware, ceramics, metalwork, jewelry, wallpaper, fabrics, graphic design, book binding, textile, clothing and costume design, and on a larger scale all kinds of exhibit space and exceptional homes, gardens and interiors, mainly in Vienna. From the humble postcard to work on the grandest scale, Wiener Werkstätte did it all.



As Filler writes: “The Wiener Werkstätte (Viennese Workshops) was a direct offshoot of the Vienna Secession and the maverick faction of avant garde painters, sculptors and architects who in 1897 broke away from the conservative Association of Austrian Artists.” The book makes “the wholly convincing case for this brief efflorescence of incomparably exquisite high style design.” At its height the group employed more than 400 specialty fabricators and a staff of over 60.

 

This new volume documents the range and beauty of their creations in a comprehensive survey of the applied arts produced by the collective founded in Vienna by the architect Josef Hoffman, the artist Koloman Moser and the patron and collector Fritz Waerndorfer. (See Timeline at end)



They called their esthetic Gesamtkunstwerk (total work of art). The chapter on “Showrooms” contributed by Paul Asenbaum and Ernst Ploil describes the conceptual ideal as “the perfect processing and application of materials; handcrafted, high quality execution; functional modern design; and the integration of all individual aspects of the decor in an overall artistic master plan.”

 

The intention of the Wiener Werkstätte was to introduce a particular lifestyle to the public and to demonstrate that an ‘everyday life’ designed by artists improves living standards and even enobles humankind.” Filler observes in the NYRB article, “Being able to control all aspects of a large commission had immense appeal-- because it produced “a more grounded sense of place and (at the same time looked) distinctively different from prevalent taste.”



Though  it is common for art historians to wedge Vienna and its talented collective of architects, designers and artists in between Art Nouveau and Art Deco, its roots are really more in the Scottish wing of the Arts and Crafts movement with a strong nod to Charles Rennie MackIntosh, interpreted through a Viennese design sensibility and augmented by large, very large, extremely large budgets.

 

Now - a century later on, WW still resonates with refined and decorative design at all price points. Whether it’s the Klimt painting of Adele Bloch-Bauer sold to Leonard Lauder for $135 million in 2006 (at the time the most expensive painting ever sold) or a bevy of Klimt refrigerator magnets, Klimt inspired Barbie dolls, or WW inspired tea sets, there’s something for everyone in this genre. The unifying concept remains based on a simple grid and the endless variations that sprang from it, embellished with expensive and decorative surface detail. In its original incarnation it was all created with luxury materials and exceptional workmanship deluxe, elegant objects of desire from a set of flatware to a palace in Brussels.

 

According to Christian Witt-Dörling in the chapter on Palais Stoclet: “In April 1905 Waerndorfer congratulated Stoclet: ‘You will not believe how pleased Klimt is deep down with the idea of being able to do something powerful in a Hoffmann room, because you are the first since the Klinger exhibition who has given Klimt a commission for such a room and the first ever to ask not for a portrait or a painting one could purchase at an exhibition but something that is made for you, for your room designed by Hoffman.’”

 

The basic premise of their Gesamtkunstwerkis that the entire environment should be all of a piece and all the parts should be lovely, not just your house and garden, but your furniture, jewelry, wallpaper, textiles, leather goods, and most particularly, hand fabricated and ornately worked metal and stone. Werkstatte has no peer and at least at the beginning, price was no object.

 

For the best example on a grand scale think the Palais Socolet. in fact the chapter on the construction of that most luxurious mansion in Brussels where a Viennese banker was minding the family business and indulging a taste for the finer things of life documents in detail --  it could be expensive -- very expensive.  And no matter how much they estimated, it always cost more, and after a while they stopped estimating and just scrambled for money.

 

The chapter on “Economics” is a real eye opener, or as Filler writes, …. “the Werkstätte was a money pit.” If the Palais Stoclet just sucked up the bucks, everything else they touched cost plenty too.

 

As the text makes amply clear, no matter who heads the design effort or how the finances were restructured through the years, WW never did get the hang of estimating. No matter what they estimated it was usually too low.

 

So that after a while WW stopped taking commissions at all. The Filler article gives the example of some unusual and complex candelabras proposed in connection with the Palais Stoclet. Quoting a letter from Hoffmann to Stoclet discussing the cost he writes…. "That alone is madness since it is simply impossible to produce a cost estimate for an object you haven't made yet.”

 

When an estimate is provided and the client says the cost is too high, Hoffmann is relieved… “and at that moment I already told her that we were freed of any obligation because she did not accept the estimate and that now we will not make the candelabras at any price because we no longer make unique objects.”

 

"Strange,” responds the client’s rep, “and we always thought we were getting extremely rich from these commissions.”  This was distinctly not the case.

 

 

Though the primary focus of the book is on the men in their various roles, be it artistic or as underwriters and investors in the grand scheme of things, the women turn out to have had a large and important role as patrons, sitters for the paintings and as artists and designers in their own right as well.

 

Emilie Louise Flöge was Klimt’s companion for 30 years. Her talent shines in fashion, textiles, and clothing designs that are striking and beautiful and it goes without saying expensive. The chapter on ceramics also defines the role played by women, mostly students of Hoffman’s working in clay while the men were at war, and repeatedly, when the money gets tight it is often the women who prevail on the men to come up with the money to keep the venture alive.

 

What this book shows that others haven’t really explored is how much it cost and how they paid for it, which was always financially tight but on a scale of lavishness that is not to be believed.  The book also has a chronology that shows all the different ways to fail, to restructure, to seek financial patronage to set sail again under plan B and to financially  fail again.

 

The business side of the enterprise is more easily understood with this partial excerpt from the book’s chronology:

 

1899 Hoffmann does the Wittgenstein country house in Bergenhole. It’s the sister of the philosopher Wittgenstein who makes the introductions. A large and influential family, Paul Wittgenstein is a major patron and becomes an investor in 1914.

 

1902 Hoffmann is named artistic director of the 14th Secession exhibit, popularly known as the Beethoven Exhibition. Klimt completes a full length portrait of Emilie Flöge.

 

1903 The WW is founded by Hoffmann, Moser and Waerndorfer, with Waerndorfer providing the financial support.

 

1904 WW moves to larger quarters with space for bronze carpentry, gold, iron, jewelry, leather and silver in addition to a bookbindery, a painter’s studio and architectural office. There is also an office and showroom for objects sold there. Moser and Hoffmann design the interior of Flöge Sisters - an upmarket fashion salon.

 

Construction begins on the Sanatorium Purkersdorf, the first building conceived as a total work of art, a Hoffmann design to be carried out by WW.

 

en.wikipedia.org/wiki/Sanatorium_Purkersdorf

 

1905 Adolphe Stoclet commissions Hoffmann and WW to design what becomes the Palais Stoclet in Brussels, a monumental project. en.wikipedia.org/wiki/Stoclet_Palace

 

The artists grouped around Klimt, Hoffman, Moser and Moll leave the Secession because of artistic differences

 

1906 WW opens it own exhibition space.

 

More extravagant commissions from the Wittgenstein family and other wealthy, mostly Jewish-Viennese patrons follow. This is the year that dependence on the small group begins to have negative effects on financial situation. The directors begin to think of mass production. Such was not the case.

 

1907 WW begins producing postcards, their only foray into low end branding.

Moser leaves over financial dispute

 

Klimt completes his portrait of Adele Bloch-Bauer in the so called “Golden” style ornamented with real silver and gold.

 

Names of Oskar  Kokoschka and Egon Schiele become more frequently associated with the WW group.  

 

1911 Financial difficulties lead to the opening of a rescue company for WW in London, (despite the difficulties) WW expands to include textiles and fashion articles. Over the years the fashion division and textiles become one of the most successful part of WW enterprise.

 

1912 the Palais Stoclet has been under construction for 8 years.

 

1914 WW financial problems worsen. Waerndorfer loses almost his entire fortune supporting the WW. He is forced to leave the venture, moves to the US. Other backers recruited from Primavesi family.

www.exlibris-austria.com/en/men-home-en/men-articles-en/77-art-kuenstler-und-seine-maezene-en?start=12

 

Start World War I

 

1915 Banker Otto Primavesi assumes the role of managing director. Architect Dagobert Peche joins the group and over time becomes one of its most innovative designers.

 

1916  During the war female students from Hoffmann’s School of Applied Arts become a major factor in the ceramics department.

 

1918 WWI ends. Klimt, Moser, Schiele and Wagner die in Vienna.

 

1920 Another restructuring this time by architect Philipp Häusler. WW publishes its first catalog to reach more customers; it also does its first outsourcing. WW has 120 employees and 250 laborers in Vienna. WW has expanded beyond Vienna with showrooms in Berlin, Marienbad and Swiss locations.

 

1922 WW has 380 employees and 400 laborers

 

Joseph Urban opens a branch in NY

 

1925 Primavesi gives up his positions as managing director for financial reasons. His wife Eugenia becomes the main proprietor. The loss of one of its most important patrons and the generally poor financial situation forces the WW to lay off workers. Staff shrinks to 66 the smallest number since it was founded.

 

1926 WW restructures it debt.

 

1927 WW attempts to become an incorporated company. Kuno Grohmann, a nephew of Eugenia Primavesi, officially becomes a partial owner of WW.

 

1928 WW celebrates its 25th anniversary. Grohmann begins the restructuring of WW.

 

1929 World economic collapse.

 

1930 Alfred Hofmann and Georges Oeri take control and try to save WW despite desperate economic situation.

 

1932 WW files for bankruptcy, entire inventory auctioned off. WW finally closed.

 

While this book is comprehensive in scope and fascinating in detail, the massive size is a definite drawback. As a tool for the scholar or art enthusiast, it can charitably be described as a white elephant. It is cumbersome, bulky, unwieldy and difficult to read and handle.

 

While Ronald Lauder and his Neue Gallery has all the right instincts on the art and exhibit side, as a publishing venture it’s definitely the wrong format for the serious reader. Let’s hope some more savvy book people repackage and reprint this information in a multi-part smaller and more readable format.

 

That goes double for the typeface - whoever picked a thin sans serif in a small point size might have accomplished an aesthetic ideal, but it is next to impossible to read more than short passages.

 

The index is appalling, nearly 600 pages of dense information with a two page index. Shame.

 

Despite these very real shortcomings in the presentation, the information is all there and the photos are terrific -- but as a book itself - as a book -- is a real chore to handle and to read, not to mention to lift.

 

Because those who sponsored the project delivered the final product in such a clunky format, it is almost impossible to really get at the information: can’t read it in bed, can’t read on a desk, hard to prop it up, almost impossible to go back and forth from one part to another. So much good stuff and so frustrating in it’s presentation. Back to the drawing board on the publishing side.

 

Link to New York Review of Books article Jan 18, 2018 by Martin Filler:

www.nybooks.com/articles/2018/01/18/vienna-between-nouveau-and-deco

Rare Book Monthly

  • <b><center>Doyle<br>The Collection of a New York Surveyor<br>December 16, 2022</b>
    <b>Doyle, The Collection of a New York Surveyor:</b> Lot 3. Francis M. Maerschalk. Manuscript plan of Philip Minthorne's land in Bowery 3. $2,000-3,000
    <b>Doyle, The Collection of a New York Surveyor:</b> Lot 30. William Bridges. A Map of a Block of Ground situate in Water Street between Walnut and Fir Streets. $3,000-5,000
    <b>Doyle, The Collection of a New York Surveyor:</b> Lot 4. Francis M. Maerschalk. M. Barrack Street/Road from Spring Garden to Fresh Water. $5,000-8,000
    <b>Doyle, The Collection of a New York Surveyor:</b> Lot 46. Love Lane. Map of Land and Buildings the property of Samuel I Tobias Esqr. $2,000-3,000
    <center><b>Doyle<br>Rare Books, Autographs & Maps<br>December 16, 2022</b>
    <b>Doyle, Rare Books, Autographs & Maps:</b> Lot 157. Stephen King. <i>Christine.</i> New York: Viking Press, 1983. First trade edition, inscribed by the author. $1,500-2,500
    <b>Doyle, Rare Books, Autographs & Maps:</b> Lot 163. Charles Lindbergh. “We.” New York: G.P. Putnam’s Sons, 1927. First edition, Author’s Autograph Edition. $1,000-1,500
    <b>Doyle, Rare Books, Autographs & Maps:</b> Lot 177. A.A. Milne. <i>Winnie-the-Pooh.</i> London: Methuen, 1926. First English trade edition, first impression. $1,000-1,500
    <b>Doyle, Rare Books, Autographs & Maps:</b> Lot 196. William Shakespeare. <i>Othello, the Moor of Venice.</i> London: printed for W. Weak, 1681. $4,000-6,000
    <b>Doyle, Rare Books, Autographs & Maps:</b> Lot 203. John Steinbeck. <i>The Grapes of Wrath.</i> New York: Viking, 1939. First edition. $1,000-1,500
  • <b>ALDE, Dec. 20:</b> VOLTAIRE. Œuvres complètes. [Kehl], Société littéraire et typographique, 1784-1789. 70 vol. €15,000 to €20,000.
    <b>ALDE, Dec. 20:</b> <i>ENCYCLOPÉDIE MÉTHODIQUE…</i> Paris, Panckoucke ; Liège, Plompteux, 1782-1832. 254 volumes in-4. €10,000 to €12,000.
    <b>ALDE, Dec. 20:</b> RUYSCH (FREDERIK). <i>Thesaurus anatomicus primus [–decimus]. Het eerste [–tiende] anatomisch cabinet.</i> Amsterdam, 1701-1716. €10,000 to €12,000.
    <b>ALDE, Dec. 20:</b> [MARCELLO (CRISTOFORO)]. <i>Sacrarum cæremoniarum sive rituum ecclesiasticorum S. Rom. Ecclesiæ libri tres.</i> Venise, Giunta, 1582. €2,000 to €3,000.
    <b>ALDE, Dec. 20:</b> [RABEL (DANIEL)]. <i>Theatrum Floræ, in quo ex toto orbe selecti mirabiles, venustiores, ac præcipui flores, tanquam ab ipsius deæ sinu proferuntur.</i> Paris, Pierre Firens, 1627. €3,000 to €4,000.
    <b>ALDE, Dec. 20:</b> VALERIANO (PIEIRIO). <i>[Hieroglyphica, sive de sacris Ægyptiorum aliarumque gentium literis, commentariorum libri LVIII]…</i> Francfort, 1613-[1614]. €2,000 to €3,000.
    <b>ALDE, Dec. 20:</b> BRUN (CLAUDE). [Cours manuscrit de Jérôme Dandini sur la Physique d'Aristote et disputes philosophiques des étudiants du collège jésuite de Bourges]. Conclusiones physic… 1579-1580. €2,000 to €3,000.
    <b>ALDE, Dec. 20:</b> CLERISSEAU (CHARLES-LOUIS). <i>Antiquités de la France. Première partie.</i> [Monuments de Nismes]. Paris, 1778. €1,000 to €1,200.
    <b>ALDE, Dec. 20:</b> LE FÈVRE (L.-C.). <i>Grand escalier du château de Versailles, dit escalier des ambassadeurs, ordonné et peint par Charles Le Brun.</i> Paris, s.d. €800 to €1,000.
  • <center><b>University Archives<br>Rare Autographs, Manuscripts & Books<br>December 14, 2022</b>
    <b>University Archives, Dec. 14:</b> Thomas Jefferson, Long ALS to Ronaldson "I consider Bonaparte as fighting our battles, and there I wish him success...” $35,000 to $45,000.
    <b>University Archives, Dec. 14:</b> G.A. Custer. PSA Mint 9 Brady CDV Signed with Rank, Best Signature/Pose We Have Ever Seen. $20,000 to $30,000.
    <b>University Archives, Dec. 14:</b> B. Franklin. 1733 Signed Philadelphia Partial Land Grant Dated Less Than 6 Months After Launch of "Poor Richard's Almanack". $12,000 to $15,000.
    <center><b>University Archives<br>Rare Autographs, Manuscripts & Books<br>December 14, 2022</b>
    <b>University Archives, Dec. 14:</b> Abraham Lincoln On Executive Mansion Stationery Replies to An Autograph Request! Fantastic Example. $10,000 to $15,000.
    <b>University Archives, Dec. 14:</b> G. Washington. Free Frank to Maj. Tallmadge Re: Culper Courier. $12,000 to $14,000.
    <b>University Archives, Dec. 14:</b> Albert Einstein ALS, “I am happy to see that a Jew is always 'en famille' wherever his steps lead him on this earth.” $5,000 to $6,000.
    <center><b>University Archives<br>Rare Autographs, Manuscripts & Books<br>December 14, 2022</b>
    <b>University Archives, Dec. 14:</b> Incredible Utah 1857 Mormon War Period Ft. Bridger Ledger: Afr. American Content, Mention of Armstead, Bernard Bee, RE Lee’s Son, 120pp! $10,000 to $12,000.
    <b>University Archives, Dec. 14:</b> Apollo XI. PSA Mint +9.5 Insurance Cover Signed by Armstrong, Aldrin & Collins, From Buzz Aldrin Family Space Collection. $8,000 to $10,000.
    <b>University Archives, Dec. 14:</b> Booker T. Washington, 17 Pages "Proud of Race...In & out of slavery...It is said that the strongest chain is no stronger than its weakest link." Handwritten Speech Notes. $8,000 to $9,000.
    <center><b>University Archives<br>Rare Autographs, Manuscripts & Books<br>December 14, 2022</b>
    <b>University Archives, Dec. 14:</b> R. Wallenberg. Signed Schutz-Pass Doc, With Rare Full Signature. $7,000 to $8,000.
    <b>University Archives, Dec. 14:</b> Freud & Jung Together, Most Famous Photo in Psychology History! September 1911, Weimar, Germany. $6,000 to $7,000.
    <b>University Archives, Dec. 14:</b> JFK Oversized Photo with Jackie & Caroline, Signed and Inscribed, Stunning! $3,500 to $4,500.
  • <b><center>Aste Bolaffi<br>Rare Books and Autographs<br>December 14-15, 2022</b>
    <b>Aste Bolaffi, Dec. 14-15:</b> Two first editions by Adrian Spigelius in a Sammelband: <i>De humani corporis fabrica</i> from 1627 and <i>De formato foetu</i> from 1626. €15,000 to €20,000.
    <b>Aste Bolaffi, Dec. 14-15:</b> Splendid coloured copy by Frederick De Wit, <i>Atlas maior,</i> Amsterdam, 1705. €20,000 to €30,000.
    <b>Aste Bolaffi, Dec. 14-15:</b> First edition by Marco Ricci, <i>Varia Marci Ricci Pictoris prestantissimi Experimenta,</i> Venice, Orsolini, 1723-1730. €20,000 to €25,000.
    <b><center>Aste Bolaffi<br>Rare Books and Autographs<br>December 14-15, 2022</b>
    <b>Aste Bolaffi, Dec. 14-15:</b> First edition by MicheleMarieschi, <i>Magnificentiores selectioresque Urbis Venetiarum prospectus,</i> Venice, 1741. €30,000 to €40,000.
    <b>Aste Bolaffi, Dec. 14-15:</b> Magnificent album by Louis-Leopold Boilly, Collection de dessins, calques et acquerelles, 1822. €20,000 to €25,000.
    <b>Aste Bolaffi, Dec. 14-15:</b> Rare musical score by Gioachino Rossini from 1858. €6,500 to €7,500.
  • <b><center>Maison Bibelot<br>Online Only Auction<br>The Bucciarelli Collection:<br>Ancient Books and Incunabula<br>Dec. 6-14, 2022</b>
    <b>Maison Bibelot, Dec. 6-14:</b> Plato. <i>Platonis Opera,</i> Venetiis: a Philippo Pincio Mantuano hoc opus Impressum fuit, Anno d[omi]ni. M.cccccxvii. Die.xxii. Aprilis (22 aprile 1517). €800 to €1,000.
    <b>Maison Bibelot, Dec. 6-14:</b> Francesco Robortello. <i>In librum Aristotelis de arte Poetica, explicationes,</i> Basileae: per Ioannem Heruagium iuniorem, 1555. In folio. €500 to €800.
    <b>Maison Bibelot, Dec. 6-14:</b> <i>Instrumento della compra del Ducato di Terra Nova.</i> Atto notarile cinquecentesco, manoscritto pergamenaceo, con bella miniatura iniziale, composto da 5 bifolio (300x225 mm) scritti recto e verso. €300 to €400.
    <b><center>Maison Bibelot<br>Online Only Auction<br>The Bucciarelli Collection:<br>Ancient Books and Incunabula<br>Dec. 6-14, 2022</b>
    <b>Maison Bibelot, Dec. 6-14:</b> Giovanni Bertachini. <i>Repertorii Bertachini,</i> Venetiis: 1507, 2 voll. (di 3). In folio. Importante post incunabolo. €1,800 to €2,200.
    <b>Maison Bibelot, Dec. 6-14:</b> Paulus de Middelburgo. <i>Pavlina De recta Paschae celebratione: et De die passionis Domini nostri Iesu Christi,</i> 1513. €1,500 to €2,000.
    <b>Maison Bibelot, Dec. 6-14:</b> Gaius Svetonius. <i>Suetonius Tranquillus cum Philippi Beroaldi, et Marci Antonii Sabellici commentariis,</i> Venetiis, 1500. €1,000 to €1,500.
    <b><center>Maison Bibelot<br>Online Only Auction<br>The Bucciarelli Collection:<br>Ancient Books and Incunabula<br>Dec. 6-14, 2022</b>
    <b>Maison Bibelot, Dec. 6-14:</b> Cicero Marco Tullio. <i>Rhetoricorum ad C. Herennium libri IV incerto auctore,</i> Venetiis: Aldus, 1569: €250 to €300.
    <b>Maison Bibelot, Dec. 6-14:</b> Rupertus Tuitiensis. <i>Ruperti abbatis monasterii Tuitiensis,</i> Apud foelicem Coloniam, 1526. Aeditio prima. In folio. €800 to €1,500.
    <b>Maison Bibelot, Dec. 6-14:</b> Agostino Nifo. <i>Destructiones destructionum Auerroys cum Augustini niphi de Suessa expositione,</i> Venetijs: Octauiani Scoti 1497, 1495, 2 pt. in 1 vol. €2,000 to €2,400.
    <b><center>Maison Bibelot<br>Online Only Auction<br>The Bucciarelli Collection:<br>Ancient Books and Incunabula<br>Dec. 6-14, 2022</b>
    <b>Maison Bibelot, Dec. 6-14:</b> Giorgio Vasari. <i>Le vite de' piu eccellenti pittori, scultori, e architettori... Primo Volume della Terza Parte,</i> Fiorenza: Appresso i Giunti, 1568. €600 to €800.
    <b>Maison Bibelot, Dec. 6-14:</b> Hieronymus (santo). <i>Epistole sancti Hieronymi,</i> Lugduni: Per Magistrum Iacobum Saccon, 1518. €1,000 to €1,500.
    <b>Maison Bibelot, Dec. 6-14:</b> Tommaso d'Aquino. <i>Incipiunt preclarissima opuscula diui Thome aquinatis,</i> Venetijs: ingenio ac impensa Hermanni Lichtenstein Coloniensis, 1497. €300 to €500.
  • <center><b>Swann Auction Galleries<br>Maps & Atlases, Natural History & Color Plate Books<br> December 8, 2022</b>
    <b>Swann December 8:</b> Friedrich Justin Bertuch, <i>Bilderbuch für Kinder,</i> Weimar, 1792, 1798, 1802, 1805, 1822. $1,200 to $1,800.
    <b>Swann December 8:</b> Sebastian Münster, <i>Novae Insulae XXVI Nova Tabula,</i> Basel, 1552. $2,500 to $3,500.
    <b>Swann December 8:</b> Sebastian Münster & Hans Holbein, <i>Typus Cosmographicus Universales,</i> Basel, 1532. $7,000 to $10,000.
    <b>Swann December 8:</b> Franz Unger, <i>Die Urwelt in Ihren Verschiedenen Bildungsperioden,</i> 16 tinted lithographed plates, Weigel, 1858. $1,000 to $1,500.
    <b>Swann December 8:</b> Charles Varle, Wiliam Warner & Andrew Hanna, <i>Plan of the City of Environs of Baltimore,</i> Baltimore, 1801. $8,000 to $12,000.
  • <center><b>19th Century Rare Book & Photograph Shop<br>Catalogue 195<br>Magnificent Books & Manuscripts<br>Free on request</b>
    <b>19th Century Shop, Catalogue 195:</b> Benjamin Franklin on Electricity. Inscribed presentation copy.
    <b>19th Century Shop, Catalogue 195:</b> Frederick Douglass. Letter on civil war and the end of slavery.
    <b>19th Century Shop, Catalogue 195:</b> Carleton Watkins. A major American West photo album.
    <b>19th Century Shop, Catalogue 195:</b> Einstein. General Theory of Relativity inscribed by Einstein.
    <b>19th Century Shop, Catalogue 195:</b> The Federalist. Rare deluxe thick-paper copy.
    <b>19th Century Shop, Catalogue 195:</b> Emma Johnston. Archive of 350 salt prints by a Victorian female photographer.

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