4to, pp. , 222, , with ten full-page colour plates in two states with differing colourways, with a further nine half-page images, appearing in one state within the text and another on additional sheets, numerous monochrome vignettes; a superfine copy in a stunning near-contemporary binding of full tan morocco by Canape and Corriez dated 1927, boards with corner bouquets onlaid in three coloured leathers, ruled to a panel design with a triple gilt rule and single pointillé rules, central circular panel to upper board with lyre device onlaid in cream morocco with brown morocco ornaments, on a gilt ground, within a double gilt fillet and single pointillé border, spine in six compartments with gilt-ruled raised bands, second compartment direct-lettered gilt, the others with central flowers of onlaid leathers within a double gilt fillet and single pointillé roll, board edges with a double gilt fillet, doublures richly gilt with a floral tool within a single gilt fillet border, central panels of lilac watered silk, matching lilac silk endpapers, all edges gilt; with the original wrappers bound in. Preserved in a leather-lined slipcase of marbled paper boards and matching morocco.
US $4593 €3914
Limited edition, Comte Foy’s copy, number 35 of 125 copies produced for the members of the Société of this compendium of free verse by the Mallarmé-circle symbolist poet Henri de Régnier, attractively illustrated with reproductions of watercolours by noted French artist Antoine Calbet.
You may also be interested in...
[SAMBLANX]. [BAUDELAIRE]. POE, Edgar.
Vingt Histoires Extraordinaires. Illustrées par quarante et une eaux-fortes originales de Lobel-Riche.
First edition of Baudelaire’s celebrated translation to appear with these striking illustrations by Alméry Lobel-Riche, his close friend who was to illustrate the whole Baudelaire canon during the 1920s and early 1930s. Lobel-Riche described Baudelaire as “le premier, le plus grand poète de la femme moderne. Beaucoup le chanteront après lui, mais il est resté le Maître et le Modèle”. Number 103 of 197 copies.
POPE, Arthur Upham, and Phyllis ACKERMAN, editors.
A survey of Persian art from prehistoric times to the present . . . Published under the auspices of the American Institute for Iranian Art and Archaeology.
First edition. ‘During the 1930s, the study of Iranian art and architecture was promoted intensively, and the widely held view that Iran had been the cultural centre of the Muslim world reached a climax. The pertinent events of the decade can hardly be understood without reference to Arthur Upham Pope (1881–1969), the indefatigable organizer of missions, exhibitions and scholarship . . . . Throughout the 1930s the monumental six-volume A survey of Persian art, edited by Pope and Phyllis Ackerman (1893–1977), was . . . compiled. Work on the Survey occupied 69 scholars – among them Kurt Erdmann, Richard Ettinghausen, Samuel Flury, André Godard, C. J. Lamm, Iosif Orbeli, Ernst Kühnel, Louis Massignon and Ugo Monneret de Villiard. Some contributors, such as Robert Byron (1905–41) and Eric Schroeder (1904–71), conducted researches in Iran in the 1930s, while others such as Ettinghausen did not make the journey. Not all of the contributors were full-time academics: Ralph Hariri (1892–1969), a merchant banker and art collector, wrote a chapter on metalwork’ (Stephen Vernoit, ed., Discovering Islamic art. Scholars, collectors and collections, 1850–1950 pp. 41–4). An index volume (not present here) was published in 1958.