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1. AESOP. Aesop’s fables illustrated by elisabeth frink. R. Alistair McAlpine & Leslie Waddington Prints Ltd. 1968.
£2,500
oblong folio, original orange and tan morocco by mansell, lettered in gilt on spine and upper board with large gilt block on front board. With 46 illustrations by elisabeth frink, some coloured, and 4 original lithographs. A fine copy.
first edition, limited edition of 275 copies, this no. 163 of 250 numbered copies signed by frink. the four original lithographs are present in this copy, but as is sometimes found these have not been signed by frink, as stated.
2. [BEARDSLEY]. ARISTOPHANES. the lysistrata of Aristophanes now first Wholly translated into english And illustrated With eight full-page drawings by Aubrey beardsley. New York, Odyssey Publications, 1967.
£150
small 4to. (290 x 230 mm). blue paper-covered boards, purple cloth- covered solander box; vi, [iv], 61, [1]pp. with 8 full-page reproductions of the original woodcuts; the box lightly faded in parts, otherwise a very good copy.
one of 515 copies, of which 500 were for sale. this copy numbered 291. handsome facsimile of Aubrey beardsley’s erotic drawings illustrating Aristophanes’s Lysistrata of which 100 copies were originally printed and published in 1896 by leonard smithers.
3. ART. verve. Paris: E Tériade. 1940. £698
4to. contemporary cream paper-covered boards; richly illustrated throughout in colour and black-and-white with lithographs, photographs, tipped-in reproductions, some gilt decoration; very good. Provenance: bookplate of barbara and nicolas bentley to front pastedown designed by reynolds stone. nicolas bentley (1907 - 1978) was a celebrated british author, illustrator and cartoonist.
vol ii numbers 5-6 (double issue), 7 and 8 bound together with original covers, including henri matisse’s striking design for number 8. As John russell wrote in his 1988 New York Times review of Verve, ‘ [when] german armies overran france in 1940, verve did not refer to it directly. the cover of the issue dated ‘’summer 1940’’ was once again by henri matisse, and once again matisse made color and form dance for him as they danced for no one else. (twenty-six print runs were needed to get the colors right, by the way.) but what distinguished that cover was the sumptuous funerary black of the ground on which those colored shapes danced. unique in matisse’s output was the predominance of that grief- laden and premonitory black.’
this kind of boldness was characteristic of this famed, lavish and extravagant art magazine that ran under tériade’s supervision from 1937 - 40. he garnered contributions from the greatest artistic figures of the time, such as picasso, chagall and braque, and the double issue 5-6, edited by Aristide maillol, represents a fully illustrated survey of the contemporary french art scene. the magazine was also interested in the art of earlier periods, as issue 7, which is famously devoted to one of the first colour reproductions of the Très Riches Heures of the duc de berry, shows.
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