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Finarte
Books, Autographs & Prints
June 24 & 25, 2025Finarte, June 24-25: ALIGHIERI, DANTE / LANDINO, CRISTOFORO. Comento di Christophoro Landino Fiorentino sopra la Comedia di Danthe Alighieri poeta fiorentino, 1481. €40,000 to €50,000.Finarte, June 24-25: ALIGHIERI, DANTE. La Commedia [Commento di Christophorus Landinus]. Aggiunta: Marsilius Ficinus, Ad Dantem gratulatio [in latino e Italiano], 1487. €40,000 to €60,000.Finarte, June 24-25: ALIGHIERI, DANTE. Il Convivio, 1490. €20,000 to €25,000.Finarte
Books, Autographs & Prints
June 24 & 25, 2025Finarte, June 24-25: BANDELLO, MATTEO. La prima [-quarta] parte de le nouelle del Bandello, 1554. €7,000 to €9,000.Finarte, June 24-25: LEGATURA – PLUTARCO. Le vies des hommes illustres, grecs et romaines translates, 1567. €10,000 to €12,000.Finarte, June 24-25: TOLOMEO, CLAUDIO. Ptolemeo La Geografia di Claudio Ptolemeo Alessandrino, Con alcuni comenti…, 1548. €4,000 to €6,000.Finarte
Books, Autographs & Prints
June 24 & 25, 2025Finarte, June 24-25: FESTE - COPPOLA, GIOVANNI CARLO. Le nozze degli Dei, favola [...] rappresentata in musica in Firenze…, 1637. €6,000 to €8,000.Finarte, June 24-25: SPINOZA, BARUCH. Opera posthuma, 1677. €8,000 to €12,000.Finarte, June 24-25: PUSHKIN, ALEXANDER. Borus Godunov, 1831. €30,000 to €50,000.Finarte
Books, Autographs & Prints
June 24 & 25, 2025Finarte, June 24-25: LIBRO D'ARTISTA - LECUIRE, PIERRE. Ballets-minute, 1954. €35,000 to €40,000.Finarte, June 24-25: LIBRO D'ARTISTA - MAJAKOVSKIJ, VLADIMIR / LISSITZKY, LAZAR MARKOVICH. Dlia Golosa, 1923. €7,000 to €10,000.Finarte, June 24-25: LIBRO D'ARTISTA - MATISSE, HENRI / MONTHERLANT, HENRY DE. Pasiphaé. Chant de Minos., 1944. €22,000 to €24,000. -
Rose City Book & Paper Fair
June 14-15, 2025
1000 NE Multnomah, Portland
ROSECITYBOOKFAIR.COM -
Swann, June 17: Lot 13: Arthur Rackham, Candlelight, pen and ink, circa 1900.Swann, June 17: Lot 28: Harold Von Schmidt, "I Asked Jim If He Wanted To Accompany Us To Teach The Hanneseys A Lesson.", oil on canvas, 1957.Swann, June 17: Lot 96: Arthur Szyk, Thumbelina, gouache and pencil, 1945.Swann, June 17: Lot 101: D.R. Sexton, The White Rabbit And Bill The Lizard, watercolor and gouache, 1932.Swann, June 17: Lot 127: Miguel Covarrubias, Bradypus Tridactilus. Three-Toed Sloth, gouache, circa 1953.Swann, June 17: Lot 132: William Pène Du Bois, 2 Illustrations: Balloon Merry Go Round On The Ground And In The Air, pen and ink and wash, 1947.Swann, June 17: Lot 137: Lee Lorenz, Confetti Hourglass, mixed media, 1973.Swann, June 17: Lot 181: Norman Rockwell, Portrait Of Floyd Jerome Patten (Editor At Boy's Life Magazine), charcoal, circa 1915.Swann, June 17: Lot 188: Ludwig Bemelmans, Rue De Buci, Paris, casein, watercolor, ink and gouache, 1955.Swann, June 17: Lot 263: Maurice Sendak, Sundance Childrens Theater Poster Preliminary Sketch, pencil, 1988.
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Fonsie Mealy’s
Chatsworth Summer Fine Art Sale
18th June 2025Fonsie Mealy, June 18: William IV, c1830, oversized slope-top Rosewood Davenport Desk, Attributed to Gillows of Lancaster. With Provenance to Oscar Wilde.Fonsie Mealy, June 18: William IV, c1830, oversized slope-top Rosewood Davenport Desk, Attributed to Gillows of Lancaster. With Provenance to Oscar Wilde.Fonsie Mealy, June 18: William IV, c1830, oversized slope-top Rosewood Davenport Desk, Attributed to Gillows of Lancaster. With Provenance to Oscar Wilde.Fonsie Mealy, June 18: French Bateau Bed, exhibition piece from the Exposition Universelle—The Paris World’s Fair, 1878. Third quarter of the 19th century. With Provenance to Oscar Wilde.
Rare Book Monthly
A Book Lover's Trip Through Dante's Commedia (or the Care and Preservation of Books)
by Renée Magriel Roberts
You probably have not heard about this, but a few previously undiscovered cantos of Inferno, Purgatorio and Paradiso were recently discovered by a hiker on the road to Ravenna. Strangely enough, all of these cantos appear to refer to people and organizations publicly or privately tasked with the care, storage, and preservation of books.
With the help of my friends at Talin Bookbindery, we've put together a rough translation of the material (not in terza rima, thank you very much) and the body of work, as far as we can figure out, appears to be a compiled list of dos and don'ts for book handling and care, previously expurgated by known fourteenth-century book abusers.
In the circle of the Innocents, we have, of course, the children who suck on book ends, write on books with crayons, practice their penmanship, draw on the drawings and mangle the bindings. They are together with the book-loving dogs who, when not walked on a regular basis, chew on books and book boxes within their reach.
A book entering Inferno literally has to abandon all hope. Inferno is no place for books, which should be kept at a temperature of 57F - 75F, and relative humidity 50%, avoiding extremes of either heat or cold, moistness or dryness. So that basement that only gets wet sometimes, or the dry, hot attic is not the place to store books, if you hope to preserve their use and their value. Those patrons now in Inferno could have used air conditioning to avoid their fate.
The only plus in Inferno is that it lacks sunlight, which fades bindings and most particularly book spines. Stand the books on unpainted bookshelves located on inside walls, loosely, and when you take them off the shelf Dante suggests that you do not pull on the top of the spine.
As we descend further into Inferno, we find the circle of the elastic-banders, people who feel that they must tie the separate volumes of a work together (or the boards of an individual book that are separating from the text block) with an elastic band that cruelly digs into the binding. Dante suggests that they use loose string or acid-free ribbon tape instead.
Several circles are devoted to the tapers. These include anyone who tapes the dustjackets of books to the boards. The people in this section of Inferno were caught using all manner of duct tape, electrical tape, surgical tape, masking tape, packing tape, and, worst of all, scotch tape. They taped the pages, taped the hinges, taped newspaper articles to the endpapers, adhered price tags to the dustjackets and then, to avoid anybody ripping off the $2 price and getting the book for $1, they cover the tag with cheap scotch tape, assuring the $2 and destroying any value the jacket has.