Art and Architecture
Rare Art Books & Rare Architecture Books for Sale Online
Raptis Rare Books maintains an extensive selection of rare art books and rare books on architecture in our library. Browse through our entire collection below, view details about individual books and contact us to ask a question or find out more information.
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Exceptionally rare Franco-Flemish miniature illuminated Book of Hours. 16mo, bound in full 18th century red velvet, script on vellum, illuminated with thirteen elaborately historiated initials and four brilliant illuminated initials within lateral floral borders and numerous other small initials. In near find condition. Housed in a custom box. A beautiful example.
Price: $30,000.00 Item Number: 190504
First edition of the second book on architecture published in America: Owen Biddle's The Young Carpenter's Assistant
The Young Carpenter’s Assistant; Or, A System Of Architecture, Adapted To The Style Of Building In The United States.
Philadelphia: Benjamin Johnson, 1805.
First edition of the second book on architecture published in America, second only to Asher Benjamin’s Country Builder’s Assistant’ published in 1797( Shaw & Shoemaker, 8018). Quarto, bound in full calf, gilt titles and tooling to the spine, gilt ruled to the front and rear panels, illustrated with 44 engraved plates, 2 folding. In very good condition. Scarce with only 2 copies having appeared at auction in the past 50 years.
Price: $15,000.00 Item Number: 117672
New York: Simon and Schuster, 1940.
First edition of the lavishly illustrated companion volume to Disney’s animated musical masterpiece. Quarto, original cloth, pictorial endpapers, illustrated with 16 mounted color plates. Presentation copy, signed and inscribed by thirteen people (including Walt Disney); all who worked at Walt Disney studios in the 1940s. All of the inscriptions are to Jodie Ferguson Brudge, who was a secretary at Disney Studios, and upon her leaving to get married, raise family, she asked those that she worked with to inscribe her copy of Fantasia. This work contains the following inscriptions and illustrations, inscribed by Walt Disney on the title page, “To Jodie Best Wishes Walt Disney.” Page 10 has an original full-color illustration by Milt Banta of a card game between Mickey Mouse, Donald Duck and Milt Banta, with the inscription “Best Wishes Always Milt Banta.” Page 14 has a full page original illustration by Russ Dyson of a “ye olde family tree” for the Ferguson [Jodie] and Dyson branches. On the Dyson branch is a self-portrait of Dyson as a bird, with the inscription, “I Hope the Ferguson Branch Doesn’t grow any Larger! Good Luck – Russ Dyson 1/18/46.” Page 57 has an original watercolor of a tree branch and paint container, and the inscription: “Jodie – If you ever run across any automatic paint brushes like these – let me know. – Claude Coats.” Page 82 has a twenty-six line inscription that is warm and thoughtful from Ben [Sharpsteen]. Page 95 has an original color illustration of a frog fishing and the inscription, “An ‘Good Fishin’ to you all the time – Jodie. Hugh Hennesy” Page 102 has an original color illustration of a self-portrait of Bill Berg, with the inscription “Good Bye Jodie – We’ll Miss You!!! Bill Berg.” Page 118 has an original illustration of a self-portrait of Jerry Hathcock waking from a nightmare, with the inscription, “Gad!! What a Nightmare! Maybe Jodie is smart to leave. Good Bye + Good Luck, Jerry Hathcock.” Page 119 has an original illustration of a bouquet of flowers, that has been drawn into the hand/wing of the printed ostrich, with the inscription: “Best Luck and Good Wishes Jodie. Phil Barber.” Page 121 has an original illustration of a self-portrait of J. Eric Gurney who is holding a banner that reads, “Best Wishes to Jodie.” The opposite end of the banner is being held by the printed hippopotamus. Page 126 has an original illustration of a self-portrait of Nick Nichols (being held aloft by the printed elephant), with the inscription: “Bye Bye Jodie Come Back And Work For Me Again. Best Nick Nichols.” Page 159 has an original full-page illustration of Jodie as a centaurette, with the inscription, “G’bye Now. Lots of Luck an’ Stuff to Jodie. George Rowley.” The verso of the rear free endsheet contains an original illustration of a guitar player in a pancho and sombrero with the inscription, ” Good Luck Jodie. William de la Torre.” An excellent example in a very good dust jacket. A unique piece of Disney history.
Price: $14,000.00 Item Number: 96808
Rare large etching of Albert Einstein done by well-known artist Erich Buttner. Signed by both Einstein and Buttner. In fine condition. Double matted and framed, the entire piece measures 12.25 inches by 15 inches. An exceptional piece. In the 1920s he created a series of portraits of his friends and fellow artists including Lovis Corinth, George Grosz, Arno Holz and Heinrich Zille. He produced a very fine book of exlibris (bookplates) in Berlin 1921. This book contains the exlibris of Albert Einstein 1917, probably Einstein’s only bookplate. The etching measures 12.5 inches by 9.5 inches. Double matted and framed. The entire piece measures 18.75 inches by 15.75 inches.
Price: $14,000.00 Item Number: 112748
Etched portrait of Albert Einstein by well-known Polish-American Jewish artist Lionel S. Reiss. Signed by both Einstein and Reiss. In fine condition. Double matted and framed, the entire piece measures 13.5 inches by 16.5 inches. An exceptional piece.
Price: $9,800.00 Item Number: 87430
Etch bust of Albert Einstein done by well-known artist Hermann Struck. Signed by both Einstein and Struck, numbered 49/150. In fine condition. Double matted and framed, the entire piece measures 12.25 inches by 15 inches. An exceptional piece.
Price: $9,500.00 Item Number: 95890
"He was totally unlike anybody else" (Judy Collins); First Edition of Dance Me To The End of Love; Inscribed by Leonard Cohen to Judy Collins
New York: Welcome Enterprises, 1995.
First edition of Cohen’s work, a lyrical tribute to love. Thin quarto, original illustrated boards. Paintings by Henri Matisse. Edited by Linda Sunshine. Association copy, inscribed by the author to Judy Collins on the front free endpaper, “Dear Judy thank-you for shameless love, as always Leonard Los Angeles 1995” with Cohen’s “Order of the Unified Heart” ink stamp, his embossed stamp, and Collins’ signature above. Collins was essentially responsible for Cohen’s musical career. As she writes in her autobiography Trust Your Heart, “I met Leonard Cohen in 1966, when my Canadian friend Mary Martin arranged for us to meet. Leonard had been a published and successful writer and poet for many years, and had recently written his first songs. He came down from Canada one night, and I listened to his songs in my living room. He sang ‘Suzanne’ and ‘Dress Rehearsal Rag’ that night, sitting on the couch, holding the guitar on his knee. I was moved by his singing voice, and by the songs, and by his whole presence. There was something very ethereal and at the same time earthy about his voice. When Leonard sang, I was entranced. I became immediately devoted to him, and we soon were friends… I recorded ‘Suzanne’ and ‘Dress Rehearsal Rag’ on In My Life in 1966, and it went gold in 1967. With the record’s success, Leonard became known as a songwriter. I suggested he make his debut and sing in public, but he was terribly shy. I knew once he got over his fear, he would be powerful on stage. I was going to appear at a concert for Sane against the Vietnam War at Town Hall, on April 30, 1967. I asked Leonard if he would sing Suzanne there. ‘I can’t do it, Judy, I would die from embarrassment.’ ‘Leonard, you are a great writer and a fine singer, people want to hear you.’ He finally agreed, reluctantly. When I introduced him, he walked onto the stage hesitantly, his guitar slung across his hips, and from the wings I could see his legs shaking inside his trousers. He began ‘Suzanne,’ with the hushed audience leaning forward in their seats; he got halfway through the first verse and stopped. ‘I can’t go on,’ he said, and left the stage, while the audience clapped and shouted, calling for him to come back. ‘We love you, you’re great!’ Their voices followed him backstage, where he stood with his head on my shoulder, my arms around him. ‘I can’t do it, I can’t go back.’… He looked about ten years old. His mouth drew down at the sides, he started to untangle himself from his guitar strap. I stopped him, touching him on the shoulder. ‘But you will,’ I said. He shook himself and drew his body up and put his shoulders back, smiled again, and walked back onto the stage. He finished ‘Suzanne,’ and the audience went wild. He has been giving concerts ever since. I have loved and recorded so many of his songs… His songs carried me through dark years like mantras or stones that you hold in your hand while the sun rises or the fire burns. They kept me centered as I stood in front of thousands of people, my eyes closed, my hands around the neck of a guitar, my voice singing his ethereal lyrics. The audience responded to his writing, the songs were like water to a person dying of thirst. They were songs for the spirit when our spirits were strained to the breaking point.” An exceptional association, perhaps the finest possible as without Collins, Leonard Cohen musical career may not have been discovered. Near fine in a near fine dust jacket. From the library of Judy Collins.
Price: $8,800.00 Item Number: 98477
Rare original Walt Disney Studios production drawing of Donald Duck posing as a hunter. Inscribed by Walt Disney in the lower right corner of the original presentation mat, “To Paul Conrad, with best wishes, Walt Disney” with the Walt Disney Studios copyright insignia in the lower right corner. The entire piece measures 16.5 inches by 15.5 inches.
Price: $8,200.00 Item Number: 96235
Paris: Sold by W. & S. Jones, 1844.
Rare mid-19th century French terrestrial table globe: Charles Dien’s The Globe Classique, Nouvelle edition. The globe measures 10 inches in diameter with an engraved longitude ring and brass latitude ring. Mounted on brass and mahogany stand. The globe is composed of hand-colored paper gores over a plaster sphere. The entire piece measures 20 inches in height. French astronomer and cosmographer Charles Dien published highly detailed atlases, works on astronomy, and both celestial and terrestrial globes in Paris throughout the 1840s and 1850s. Dien was also renowned for the sophisticated engravings he designed for the many books produced by his father’s publishing house Delamarche. In very good condition with a few areas rubbed. Rare and desirable.
Price: $6,200.00 Item Number: 96538
"Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision": First Edition of Dali; Signed and dated by him
France: Draeger, 1968.
First edition of this lavishly illustrated work by Salvador Dali. Quarto, original illustrated boards, 271 illustrations, with 80 color plates and 23 in toned gravure. Boldly signed by Salvador Dali opposite the title page in red paint, “Dali, 1971.” Dali has added a crown to the flourish in the letter ‘D’. Arranged and edited by Max Gerard. Near fine in a very good dust jacket. Housed in the original slipcase.
Price: $6,000.00 Item Number: 95382
Rare original Donald Brooks Fashion Design of Mia Farrow as Daisy Buchanan for the 1974 film version of The Great Gatsby
Original Donald Brooks fashion design sketch of Mia Farrow as Daisy Buchanan for the 1974 film production of F. Scott Fitzgerald’s The Great Gatsby. One page pencil drawing with watercolor detail of a moonlit sky, the drawing features Farrow in full in “a wispy delicate dress of white and pale grey chiffon that moves against the body” as well as details of her family pearls, diamond bar capelet pin, pearl drop earring, and brocade t-strap dancing slipper with Donald Brooks’ inscription in pencil, “Mia Farrow as Daisy Buchanan ‘The Great Gatsby’ Donald Brooks.” In fine condition. Double matted and framed. The entire piece measures 27.5 inches by 22.5 inches. An excellent piece featuring the iconic Buchanan in the classic film The Great Gatsby.
Price: $4,800.00 Item Number: 95196
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.
Price: $4,800.00 Item Number: 81005
New York: Pantheon Books, 1991.
First edition of Spiegelman’s Pulitzer Prize-winning Maus books based on his father’s experiences as a Polish Jew and Holocaust survivor. Octavo, two volumes, pictorial endpapers, illustrated. Signed by Art Spiegelman on the half-title page in each volume. Both volumes are fine in fine dust jackets. Housed in the original pictorial slipcase which is in near fine condition.
Price: $975.00 Item Number: 95828