• Sotheby's
    Bibliothèque Jacques Dauchez - Autour de Dubuffet
    5-19 June
    Sotheby’s, June 5-19: Bissière, Roger. Cantique à notre frère soleil de saint François. 1954. 1,000 - 1,500 EUR
    Sotheby’s, June 5-19: Céline, Louis-Ferdinand. La vie & l’œuvre de Philippe Ignace Semmelweis. 1924. Rare édition originale, avec envoi. Joint : La Quinine en thérapeutique, 1925. 4,000 - 6,000 EUR
    Sotheby’s, June 5-19: Céline, Louis-Ferdinand. Mort à crédit. 1936. Édition originale. Bel exemplaire sur Hollande. 2,500 - 3,500 EUR
    Sotheby's
    Bibliothèque Jacques Dauchez - Autour de Dubuffet
    5-19 June
    Sotheby’s, June 5-19: Chillida, Eduardo ─ Emil Cioran. Face aux instants. 1985. Un des 100 exemplaires sur Arches. Eau-forte signée. 600 - 800 EUR
    Sotheby’s, June 5-19: Dubuffet, Jean. Ler dla canpane. L’Art Brut, 1948. Édition originale. 3,000 - 5,000 EUR
    Sotheby’s, June 5-19: Dubuffet, Jean. L'Herne Jean Dubuffet. 1973. Un des 100 exemplaires du tirage de luxe avec une sérigraphie originale en couleurs. 1,000 - 1,500 EUR
  • Finarte
    Books, Autographs & Prints
    June 24 & 25, 2025
    Finarte, 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, 2025
    Finarte, 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, 2025
    Finarte, 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, 2025
    Finarte, 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.
  • 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.
  • Bonhams, June 16-25: 15th-CENTURY TREATISE ON SYPHILIS. GRÜNPECK. 1496. $20,000 - $30,000
    Bonhams, June 16-25: THE NORMAN COPY OF BENIVIENI'S TREATISE ON PATHOLOGY. 1507. $12,000 - $18,000
    Bonhams, June 16-25: FRACASTORO. Syphilis sive Morbus Gallicus. 1530. $8,000 - $12,000
    Bonhams, June 16-25: THE FIRST PUBLISHED WORK ON SKIN DISEASES. MERCURIALIS. De morbis cutaneis... 1572. $10,000 - $15,000
    Bonhams, June 16-25: BIDLOO. Anatomia humani corporis... 1685. $6,000 - $9,000
    Bonhams, June 16-25: THE NORMAN COPY OF DOUGLASS'S EARLY AMERICAN WORK ON INNOCULATION AND SMALLPOX. 1722. $20,000 - $30,000
    Bonhams, June 16-25: LIND'S FIRST TREATISE ON SCURVY. 1753. $15,000 - $20,000
    Bonhams, June 16-25: RARE JENNER SIGNED CIRCULAR ON VACCINATION. 1821. $4,000 - $6,000
    Bonhams, June 16-25: MOST BEAUTIFUL OF MEDICAL ILLUSTRATIONS. BRIGHT. Reports of Medical Cases... 1827-1831. $10,000 - $15,000
    Bonhams, June 16-25: FLORENCE NIGHTINGALE PRESENTATION COPY TO HER MOTHER. 1860. $6,000 - $8,000
    Bonhams, June 16-25: LORENZO TRAVER'S MANUSCRIPT JOURNAL OF BURNSIDE'S NORTH CAROLINA EXPEDITION. TRAVER, Lorenzo. $2,000 - $3,000
    Bonhams, June 16-25: ONE OF THE EARLIEST PHOTOGRAPHIC BOOKS ON DERMATOLOGY. HARDY. Clinique Photographique... 1868. $3,000 - $5,000

Rare Book Monthly

Articles - March - 2020 Issue

Tips,Tool & Terms: The Three Minute Guide to Graphics Arts

The History of Printmaking is a 1996 Scholastic publication that covers a complex subject in an easy to understand way. It is a clear and inexpensive way to learn about many aspects of the graphic arts.

The History of Printmaking is a 1996 Scholastic publication that covers a complex subject in an easy to understand way. It is a clear and inexpensive way to learn about many aspects of the graphic arts.

You can spend a lifetime learning the fine points of graphics, whether they are original works of art, or parts of books such as illustrations, maps or in some cases photos. I got my degree in printmaking, then knocked around the museum side of graphics for awhile before ending up as a bookseller for more than 40 years years. I can’t make you an instant expert (especially not in three minutes) put here are a few tips that may come in useful when handling images on paper.

 

TIPS

Touch It: When it comes to graphics “touch” is the most important and most accurate indicator. It is easy to fool the eye, copies are everywhere, and newer digital technology can easily replicate not just the image but the plate tone and even in some cases the plate mark. The eye is gullible, the fingers not so much. When in doubt touch it. Feel the surface of the paper, notice how the ink lies on the sheet (or sinks into the surface), notice the “feel” of the paper. Your fingers are a better judge of age than your eyes.

 

Paper is hard to forge: It’s easy to reproduce a picture, especially now in the 21st century there are countless ways to make and edit digital copies. Are you looking at an 18th century map, but the paper feels too slick, thin, brittle or modern for the image? Chances are it’s not the real thing. Don’t be fooled by fancy presentation, if you’ve got an old picture on a new paper your eye may not see it, but your fingers will know the difference.

 

Speaking of paper and touch, it’s easy to tell the difference between an antique “rag” paper and a modern “wood pulp” paper. Up until the middle of the 19th century almost all paper had significant rag (long strong fiber) content which made them feel and wear more like cloth than what we think of as “paper” today. An older rag pulp paper will be flexible and it may bend, but it usually doesn’t make a hard sharp crease or chip easily.

 

In the mid-19th century the wood pulp paper manufacturing process replaced rag papers except for cases where a fine a durable sheet was desired (and that wasn’t often). That’s why the old maps and engravings made in the 1700s are frequently found in such terrific shape, while their younger copies and counterparts from the late 19th century are often brittle and chipped.

 

Wood pulp papers can look terrific: they come in a huge range of weights, finishes and colors, but in the end the fibers that hold the sheet together are short and weak. Wood pulp papers often yellow, brown or fox (get age spots). They get brittle, tear easily, and not made to last. Most fine prints are still made on rag papers. As for conservation supplies, even with our current push toward archival interleaving, chances are you can retard discoloration with careful handling, but not entirely stop it.

 

Don’t buy framed artwork on paper under glass without taking it out of the frame- that goes for anything on paper and it is the main corollary to “Touch It.” If it’s under glass you have at least a very good chance of being wrong. If you are thinking about buying a framed print or map on paper under glass, no matter how real and authentic it appears, take it out of the frame. Take it out of the mat. Turn it over and look on the back. Take it off of the backing and hold it up to the light, look for watermarks, ghost images, other things you might not see otherwise.

 

Many graphics have wonderful frames attached to ghastly acid saturated mats that are burning and eating away at the paper below them. Ditto for backing boards. Even the modern so called “acid free” or buffered matting leaves mat burn, a yellowish ghosting at the edge of the image area. If you are going to spend serious money, take the time to know what you are getting. As for storage, remember even old ink can offset, so store your print inventory flat in a cool dry place, interleaved with acid free paper and check frequently for insects.

 

Read any simple book on printmaking. Can’t tell a lithograph from a silk screen? Don’t know an etching from an engraving? Take the time to read an easy inexpensive book. The one I recommend is called THE HISTORY OF PRINTMAKING; it’s part of the Scholastic Voyages of Discovery series published in 1996. It’s actually made for children, but it’s clearly written and vividly illustrated. You can read it cover-to-cover in less than an hour and learn a tremendous amount of basic information about graphic arts. Currently there are many copies available online priced under $10.

 

Don’t hang your prints in the bathroom or direct sunlight. That advice seems like a no-brainer to me, but you’d be surprised how many people don’t realize that prints are both light and humidity sensitive.

 

TOOLS

Own a good magnifying glass. The magnifying glass is a friend of both the buyer and the seller. Graphics, especially the kind of graphics found in books are intimate in nature and usually relatively small in scale. Using a good magnifying glass can help a seller explain the differences in tonality, line quality and techniques. All of those things which are hard to explain in words are easy (nay exciting) to see and easily understood with the help of a good magnifying glass.

 

The magnifying glass is also indispensable for the buyer, as it can reveal the telltale tiny “dots” that are the hallmark of the photolithography (often called offset litho) process. Seeing those dots under the glass means “This is a modern printed reproduction. Even if it’s “old”, it’s an old repro.

 

A couple useful TERMS

Del. & Sculp. Del (or similar) means "drew" in Latin. The name following is the artist who did the drawing that the print reproduces. It is common, especially in the 18th and 19th century to see Del. followed by a name below the image on one side of the print (often on the left side below the image, and Sculp. (or similar)- meaning the name of the person or company that did the engraving) on the other side, usually the right, below the image.

 

A/P in contemporary printmaking A/P written in pencil below an image or on the back of the sheet means artist’s proof. An artist’s proof can be one of many stages that the image goes through before arriving at the final version, i.e. the image that will be used to make multiple copies. Artists often keep artist’s proofs for their own collections. An artist’s proof is likely to be scarcer than a similar print.

 

Numbering a print is a contemporary convention that has come into being relatively recently. If you see a fine “art” print that is numbered 2/250 that means it is the second print pulled in an edition limited to 250. It does not necessarily mean all 250 copies have been printed, it means the artist intends to print no more than that number. Numbering prints isn’t always accurate and it doesn’t invariably guarantee there aren’t other copies floating around as different states or proofs. Numbering originally was used because the plates would wear down and an early impression might be better than a later impression, in today’s world numbering is frequently more of a marketing technique than any guarantee of scarcity

Rare Book Monthly

  • Rare Book Hub is now mobile-friendly!
  • Old World Auctions (June 18): Lot 567. One of the Earliest & Most Desirable Printed Maps of Arabia - by Holle/Germanus (1482) Est. $55,000 - $65,000
    Old World Auctions (June 18): Lot 681. Zatta's Complete Atlas with 218 Maps in Full Contemporary Color (1779) Est. $27,500 - $35,000
    Old World Auctions (June 18): Lot 347. MacDonald Gill's Landmark "Wonderground Map" of London (1914) Est. $1,800 - $2,100
    Old World Auctions (June 18): Lot 1. Fries' "Modern" World Map with Portraits of Five Kings (1525) Est. $4,000 - $4,750
    Old World Auctions (June 18): Lot 539. Ortelius' Superb, Decorative Map of Cyprus in Full Contemporary Color (1573) Est. $1,100 - $1,400
    Old World Auctions (June 18): Lot 51. Mercator's Foundation Map for the Americas in Full Contemporary Color (1630) Est. $3,250 - $4,000
    Old World Auctions (June 18): Lot 667. Manuscript Bible Leaf with Image of Mary and Baby Jesus (1450) Est. $1,900 - $2,200
    Old World Auctions (June 18): Lot 226. "A Powerful Example of Color Used to Make a Point" (1895) Est. $400 - $600
    Old World Auctions (June 18): Lot 290. One of the Most Decorative Early Maps of South America - from Linschoten's "Itinerario" (1596) Est. $7,000 - $8,500
    Old World Auctions (June 18): Lot 62. Coronelli's Influential Map of North America with the Island of California (1688) Est. $10,000 - $12,000
    Old World Auctions (June 18): Lot 589. The First European-Printed Map of China - by Ortelius (1584) Est. $4,000 - $5,000
  • Forum Auctions
    A Sixth Selection of 16th and 17th Century English Books from the Fox Pointe Manor Library
    19th June 2025
    Forum, June 19: Euclid. The Elements of Geometrie, first edition in English of the first complete translation, [1570]. £20,000 to £30,000.
    Forum, June 19: Nicolay (Nicolas de). The Navigations, peregrinations and voyages, made into Turkie, first edition in English, 1585. £10,000 to £15,000.
    Forum, June 19: Shakespeare source book.- Montemayor (Jorge de). Diana of George of Montemayor, first edition in English, 1598. £6,000 to £8,000.
    Forum, June 19: Livius (Titus). The Romane Historie, first edition in English, translated by Philemon Holland, Adam Islip, 1600. £6,000 to £8,000.
    Forum Auctions
    A Sixth Selection of 16th and 17th Century English Books from the Fox Pointe Manor Library
    19th June 2025
    Forum, June 19: Robert Molesworth's copy.- Montaigne (Michel de). The Essayes Or Morall, Politike and Millitarie Discourses, first edition in English, 1603. £10,000 to £15,000.
    Forum, June 19: Shakespeare (William). The Tempest [&] The Two Gentlemen of Verona, from the Second Folio, [Printed by Thomas Cotes], 1632. £4,000 to £6,000.
    Forum, June 19: Boyle (Robert). Medicina Hydrostatica: or, Hydrostaticks Applyed to the Materia Medica, first edition, for Samuel Smith, 1690. £2,500 to £3,500.
    Forum, June 19: Locke (John). An Essay Concerning Humane Understanding in Four Books, first edition, second issue, 1690. £8,00 to £12,000.
  • ALDE, June 18: CHAPPE D'AUTEROCHE (JEAN). Voyage en Sibérie fait par ordre du Roi en 1761 contenant les mœurs…, Paris, 1768. €4,000 to €5,000.
    ALDE, June 18: HENNEPIN (LOUIS). Description de la Louisiane nouvellement découverte au Sud-Ouest de la Nouvelle France…, Paris, 1688. €3,000 to €4,000.
    ALDE, June 18: LA BOULLAYE-LE GOUZ (FRANÇOIS DE). Les Voyages et Observations, Paris, 1653. €1,500 to €2,000.
    ALDE, June 18: LE BRUN (CORNELIS DE BRUYN DIT CORNEILLE). Voyage au Levant, c'est à dire dans les principaux endroits de l'Asie mineure..., Delft, 1700. €6,000 to €8,000.
    ALDE, June 18: SAINT-NON (J.-CL. RICHARD, ABBÉ DE). Voyage pittoresque ou description du royaume de Naples et de Sicile, Paris, 1781-1786. €3,500 to €5,000.
    ALDE, June 18: (CALVIN JEAN). SÉNÈQUE. Annei Senecae..., Paris, 1532. €2,000 to €3,000.
    ALDE, June 18: ADRIEN LE CHARTREUX. De remediis utriusque fortunæ, [Cologne, vers 1470]. €5,000 to €6,000.
    ALDE, June 18: GAZA (THÉODORE). [...] Introductivæ grammatices libri quatuor. Ejusdem de mensibus opusculum sanequampulchrum, Venise, 1495. €8,000 to €10,000.
    ALDE, June 18: LACTANCE. De divinis institutionibus. De ira Dei. De opificio Dei. De phoenice carmen, Rome, 1468. €30,000 to €40,000.
    ALDE, June 18: LUTHER (MARTIN). Der Erste [– Achte und letze] Teil aller Bücher und Schrifften des thewren, seligen Mans Doct. Mart. Lutheri, Iéna, 1555-1568. €5,000 to €6,000.
    ALDE, June 18: POLITIEN (ANGE). Omnia opera, et alia quædam lectu Digna, Venise, 1498. €8,000 to €10,000.
    ALDE, June 18: SIDOINE APOLLINAIRE. Poema aureum ejusdemque Epistole, Milan, 1498. €3,000 to €4,000.
  • Fonsie Mealy’s
    Chatsworth Summer Fine Art Sale
    18th June 2025
    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: 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.
  • Bonhams, June 16-24: KELMSCOTT PRESS. RUSKIN. The Nature of Gothic. 1892. $1,500 - $2,500
    Bonhams, June 16-24: ASHENDENE PRESS. The Wisdom of Jesus. 1932. $2,000 - $3,000
    Bonhams, June 16-24: CHARLOTTE BRONTE WRITES AS GOVERNESS. Autograph Letter Signed, 1851. $15,000 - $25,000
    Bonhams, June 16-24: FIRST AMERICAN EDITION OF WUTHERING HEIGHTS. BRONTE, Emily. New York, 1848. $3,000 - $5,000
    Bonhams, June 16-24: IAN FLEMING ASSOCIATION COPY. You Only Live Twice. London, 1964. $7,000 - $9,000
    Bonhams, June 16-24: DELUXE EDITION WITH ORIGINAL PAINTING. BUKOWSKI, Charles. War All the Time. 1984. $3,000 - $5,000
    Bonhams, June 16-24: EINSTEIN'S MOST POWERFUL STATEMENT ON THE ATOMIC BOMB. Original Typed Manuscript Signed, "On My Participation in the Atom Bomb Project," 1953. $100,000 - $150,000
    Bonhams, June 16-24: EINSTEIN ON SCIENCE, WAR AND MORALITY. Autograph Letter Signed, 1949. $20,000 - $30,000
    Bonhams, June 16-24: SOCIETY OF THE CINCINNATI. WASHINGTON, George. Engraved document signed, 1786. $8,000 - $12,000
    Bonhams, June 16-24: AN EARLY CHINESE-MADE 34-STAR U.S. CONSULAR FLAG. $8,000 - $12,000
    Bonhams, June 16-24: SIGNED PHOTOGRAPH OF LINCOLN WITH HIS SON TAD. 1864. $60,000 - $90,000
    Bonhams, June 16-24: MALCOLM X WRITES FROM KENYA. Postcard signed, 1964. $4,000 - $6,000

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