Small 4to, (252 x 282 mm), pp. xviii, 252 (including 105 duotone plates and 151 black and white figures); pictorial boards.
US $56 €50
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The Nicholas Brothers & A. T. W. Penn: photographers of South India 1855 – 1885. With a foreword by John Falconer.
An examination of the successful studios established by John and James Perratt Nicholas and Albert Penn in Madras and Ootacamund. The majority of the photographs are published here for the first time. Also includes a copy of the scarce Nicholas & Co. 1881 catalogue listing over 450 subjects.
The book begins with the early years of the Nicholas studios in Madras and Ootacamund, explains how the business achieved success in the 1870s and 1880s and concludes with the introduction of the Kodak, the rise of the amateur photographer, and the inevitable decline in the studios’ profitability that followed.
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BARKER, Nicolas, ed.
The Pirie Library. A Short-Title Catalogue of the Collection of Robert S Pirie.
The library of Robert S Pirie, ‘one of the finest private libraries of English literature, not just of our time but of all time’ (James Stourton), was sold at Sotheby’s New York on 2-4 December 2015. This account is based on Sotheby’s catalogue of the sale, and augmented by Mr Pirie’s acquisition cards and information supplied by Irene Adams. It contains indexes of provenances, sources, bindings, armorials and devices, & a list of prices, along with a preface and memoir by Nicolas Barker, and recollections by Nicholas Poole-Wilson.
Le miniature Italiane del Kupferstichkabinett di Berlino.
From the presentation leaf: ‘Bernard Quaritch Ltd is delighted to be a sponsor of this magnificent publication. We feel sure that our German founder, both as publisher of scholarly works and dealer in medieval manuscripts, would have been proud to support Beatrice Alai’s catalogue of the Italian miniatures in one of the great German collections. Quaritch would certainly have known the Kupferstichkabinett’s illustrious director Friedrich Lippmann, for in 1888 he published Lippmann’s The Art of wood-engraving in Italy in the fifteenth century, the same year in which Lippmann acquire from Quaritch the splendid Roman calendar leaf which is described within these pages.’