First edition of Ackermann's Historical Sketch of Moscow; With the 12 original hand-colored aquatint plates; In the rare original boards
Historical Sketch of Moscow: Illustrated by Twelve Views of Different Parts of that Imperial City.
Item Number: 70036
R. Ackermann, 1813.
First edition of this stunning work. Folio, original boards. Illustrated with 12 hand-colored aquatint plates. This work was issued in both colored and black and white plates. Rare in this colored state and in the original boards. Abbey Travel 224; Tooley 262.
This work includes views of the Imperial Palace, Entrance into Moscow, the Great Square, the Palace of Petrovski, the winter carnival, Holy Gate,
Other Books by this Author
"I like complexity and contradiction in architecture": First Edition of Complexity and Contradiction in Architecture "an essential document in architectural literature"; Warmly Inscribed by Robert Venturi
New York: The Museum of Modern Art, 1966.
First edition of this essential document of architectural literature. Octavo, original gray cloth, illustrated. Presentation copy, inscribed by the author on the front free endpaper, “To Al, Friendship and respect Bob Venturi.” Fine in a near fine dust jacket with a touch of shelfwear.
"In the sunny Adriatic sea, we came to rest and play and bathe ourselves": Signed Limited First Edition of George Bradley's Where the Blue Begins; Signed by Him and Abstract Expressionist Elaine de Kooning
New York : Sea Cliff Editions, 1985.
Signed limited first edition of American poet George Bradley’s Where the Blue Begins. One of only 120 numbered copies signed by George Bradley and abstract expressionist Elaine de Kooning. Quarto, original blue illustrated wrappers by Claire Maziarczyk. Original silkscreen frontispiece by Elaine de Kooning with loose rice paper tissue guard present. In fine condition. An excellent example.
"France may be Paris, but Paris is not France": First Edition of Henry James' classic illustrated travel account: A Little Tour in France
Boston and New York: Houghton Mifflin Company, 1900.
First illustrated edition of James’ classic account of his six-week tour to provincial France between 1883 and 1884. Octavo, original illustrated cloth, gilt titles and tooling to the spine and front panel, top edge gilt, frontispiece of Old Street, Dijon with tissue guard present. Illustrated by Joseph Pennell. In near fine condition with light rubbing to the crown and foot of the spine. A beautiful example.
London: Doves Bindery, 1906.
Quarto, bound in full green morocco, gilt titles and tooling to the spine, all edges gilt. With original caricature and artwork by architect Addison Mizner. Entries dated between 1906 and 1929 and about two-thirds of the leaves remaining blank. Mizner’s contributions include to the guestbook include three self-caricature sketches and also a watercolor, each signed by Mizner. Besides Mizner’s contributions, there are two other watercolors, one a cameo of a bucolic classical ruin, another, a dog looking out onto a panoramic view of pines and the coast, undoubtedly a view from a Farmholme prospect, or nearby, before it was overrun with suburban development. And there are several other fun drawings, including ones of a race car and of a plane. Mizner is credited with pioneering the Mediterranean and Spanish Colonial stucco architectural style in Southern Florida, and also Southern California and Beverly Hills. As virtually integral as this style has become to these places and elsewhere, before Mizner designed the Everglades Country Club’s clubhouse in Palm Beach in 1918, the prevailing style there was Victorian Queen Anne and Colonial Revival shingle homes such as one would have found in Northeastern resorts. Admiration for the Everglades clubhouse made Mizner the go-to architect for millionaires who competed against one another through the 1920s for the most impressive mansion in Palm Beach, formerly primarily a hotel resort, and his style was emulated by other architects hired to build less august developments. Among his legacy is the Boca Raton Resort & Club. Mizner, though, was not your typical nose-to-the-grindstone architect but also a highly colorful figure, famed as a raconteur, a co-author of the satiric “The Cynic’s Calendar of Revised Wisdom for 1903” and many sequels, and a bit of a scoundrel, who with his brother was implicated in some shady transactions relating to the Florida land boom of the 1920s, and this served as the basis for the Stephen Sondheim 2008 musical, “Road Show”. It is the social animal that Mizner was, someone who was able to exploit social connections, that should give this guest book a certain resonance to those fascinated by him and his career. Also, Mizner was a somewhat unconventionally trained architect. He didn’t go to a modern sort of architecture school, but apprenticed in an architectural office, and perhaps it was unorthodox training that later made him so much an original, and eccentric, architect, famous for glitches in his designs such as stairways that went nowhere. But he was regarded as a highly proficient draftsman and talented artist, abilities perhaps all too in short supply in the architectural profession, and here are examples of his quick dash art that provide some delightful corroboration of this reputation. Another guest at Farmholme was Ethel Watts Mumford (Grant), his co-author, who in one place contributed four lines of comic verse and a drawing of two monkeys. Other guests included Elisabeth Marbury, the prominent theatrical agent and lesbian lover of Elsie de Wolfe; Mary Livingston Hunt, of the Old Knickerbocker Livingstons; and many others who were undoubtedly secure in their Social Register bona fides — people with names such as de Forest, Alsop, Callander, Ogden, Hotchkiss. Whoever many of these people were, the same people came back again and again over the two decades, suggesting a close knit group of friends. While many of the entries are just autographs, sometimes accompanied by an anodyne sentiment, not a few are accompanied with a few lines of appreciative verse or snippets of musical notation. One guest, an Eduardo Bucco left several entries in Italian verse. The painter of the watercolor cameo signed in reverse — one needs a mirror to make out the name, which looks something like Raymond Tumball. As august as Farmholme must have been, based on its guests, bits and pieces hinted at in the text of entries, the painted view, the exquisiteness of the guest book itself, we were not able to discover anything definitive about the estate.