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Album of designs of decorative objects, lamps, clocks, architectural elements, cartes-de-visite, and ornaments. [Nouveaux Desseins de Differens Ornemens de Meubles Inventés et composés par Jean Baptiste Hagenauer] by HAGENAUER, Johann Baptist, artist

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Title: Album of designs of decorative objects, lamps, clocks, architectural elements, cartes-de-visite, and ornaments. [Nouveaux Desseins de Differens Ornemens de Meubles Inventés et composés par Jean Baptiste Hagenauer]
Author: HAGENAUER, Johann Baptist, artist
Seller: Musinsky Rare Books, Inc. (United States)
Description: [Vienna, 1783. 4to (241 x 176 mm). 432 etched and/or engraved plates of decorative objects (platemarks 171-177 x 131 mm.), comprising parts (Cahiers) VI to XLI, by various engravers after Hagenauer. Printed on thick laid paper, watermark crown & shield with fleurs-de-lis watermark. (Overall discoloration due to paper quality, some spotting and finger-soiling, one or two short marginal tears, a few old ink splashes from users.) Bound ca. 1900 in brown morocco-backed boards, spine blind-tooled and with gilt-lettered title, by Franz Ostermann, binder’s ticket, address 80 boulevard Malesherbes (corners rubbed). Provenance: Victor and Robert Baguès, owners of the Maison Baguès, specialized in luxury lighting, bookplate, shelf-mark no. 72 on bookplate and on paper spine label.*** EXTREMELY RARE SUITE OF MOST OF THE EXTANT DESIGNS FOR ORNAMENTAL DECORATIVE OBJECTS by the Austrian sculptor Johann Baptist Hagenauer (1732-1810). The collection was produced for the benefit of his students at the Viennese Academy of Engraving and related applied arts. The only complete copy of the suite recorded, containing 474 plates, is held by the Victoria and Albert Museum. Our copy appears to be a close second; it contains 36 of the 42 published parts, each with 12 plates. Absent are parts1 to 5 and 42, as well as the general title. The third most complete holding appears to be that of the library of the Museum für angewandte Kunst in Vienna, with 189 plates (see census below). Hagenauer’s designs, for candelabras and chandeliers, cane pommels, buttons, buckles, cartes-de-visite, frames, wall friezes and molding, vases and ovens, and pure ornaments such as trophies, range in style from geometrical and neoclassical to wildly ornate and figurative, many incorporating fantastical anthropomorphic or zoomorphic figures. Between these two extremes, his designs above all furnished his students with models of the French style, although the sheer quantity and variety of the designs occasionally foreshadow future artistic schools — thus a few foliate or floral ornaments have an Art deco or even Art nouveau feel (e.g., two cane pommels, plates 129 and 133, the second with a fairy-like creature). The graphic designs for cartes-de-visite, which the artist specifies can be used for multiple purposes, include some particularly enchanting specimens. The whole provides a fascinating glimpse into a transitional period in the decorative arts, when the late Rococo (disparagingly labeled Zopfstil by Jessen and other critics) lingered amongst flashes of the soon to be dominant return to classical simplicity. (Rainald Franz traces the influences on Hagenauer’s ornament designs, and their influence on artists, in detail.) Hagenauer is best known for his sculptures in stone and bronze, but he also produced small-scale works. He was the fourth of 11 children from Strass in Upper Bavaria (then under the jurisdiction of Salzburg). His two brothers Georg and Wolfgang were well-known architects. Christoph, Graf von Schrattenbach, Prince-Archbishop of Salzburg, and an uncle financed his studies at the Fine Arts Academy in Vienna, where his precocious talent earned him continued support from the Archbishop, who sent him to Italy. He met his first wife there, Maria Rosa Barducci, a talented painter. (After her death in 1786, he married another artist, 40 years his junior, Elisabeth Weber, a medallist and sculptor.) On returning to Salzburg Hagenauer was appointed “erzbischöflichen Hofstatuarius,” official sculptor to the Archbishopric. His best-known work is the statue of the Virgin on Cathedral Square in Salzburg, for which his brother Wolfgang carried out the architectural details; he later produced statuary for the park of Nymphenburg castle in Munich and for Schönbrunn in Vienna, and in 1777 became professor of sculpture at the Viennese Academy. Most relevantly, from 1780 until his death he directed the royal school of engraving and metalwork (the k. k. Bossier und Gravierschule, the Imperial-Royal Academy of Engraving). The school had been founded by the engraver Jacob Matthias Schmutzer in 1767, to train “apprentices and workers of the `commercial professions,’ — goldsmiths and silversmiths, workers in bronze, beltmakers, armorers and sword smiths, but also interested amateurs,” in order to boost local production of these goods. In conjunction with tariffs and prohibitions against imported goods, the founding of this school helped further the development of autonomous Austrian decorative arts and crafts (Franz, pp. 874-5, trans.). Hagenauer completed sixteen of the cahiers at his own expense, before requesting funding from Prince Kaunitz, director of the Fine Arts Academy. The rarity of these ornament designs may at least in part be due to their use by student artisans. Hagenauer’s only other published work appears to be a guide to perspective, also published for his students (Unterricht von der Proporzion des Menschen, vom Perspective, wie auch von der Lichtes- und Schattenlehre, Vienna 1791). Subjects of the engravings are as follows: Cahiers VI-VII: Table candelabras, held by sculpted mythological figures or animals (including a Cerberus), each individually named in the captions, which are in French throughout. 24 plates. VIII: More table candelabra, with anthropomorphic, grotesque, classical or simply foliate decors. 6 pl. IX-XI: Candlesticks, mostly neoclassical, some with figures, titled “Termes” (cahiers IX-X) and “Tridons” [sic, for Tritons?] (cahier XI). 36 pl. XII-XIII: Ornate cane pommels, most showing the side and top views. 24 pl. XIV-XV: Buttons, 9 to 14 per plate. 24 pl. XVI: Buckles, “for men[’s belts or shoes], horses’ harnesses, and other ornaments.” 12 pl. XVII-XVIII: “Buckles for women and other ornaments appropriate for luxury objects.” 24 pl. XIX-XXI: Designs for “billets de visite, also applicable as ornaments to other objects.” 72 designs on 36 pl. XXII-XXV: Frames: “different borders applicable to all kinds of decorative objects.” 48 pl. XXVI-XXVII: Clocks: (“Cartets pendules à piédestaux et à supports”). 24 pl. XXVIII-XXIX: Wall supports for busts, figures, vases, etc. 24 pl. XXX-XXXI: Moldings and friezes. 24 pl. XXXII-XXXIV: Large ornate vases (“New inventions of different vases”). 36 pl. XXXV: “Ovens [for heating] in pedestal form on which one can place vases, etc..” 12 pl. XXXVI- XXXVIII: Trophies, “ecclesiastical, secular, and related to war, peace, the arts and sciences, etc.” 36 pl. XXXIX-XXXXI: Large branched candelabra and chandeliers (”Girandoles” and “Lustres”). 36 pl. (The absent cahiers 1-5 are largely devoted to ovens, and no. 42 depicts glasses and cups.) The plates are numbered at top by part and within each part, and consecutively at the foot. This collection starts with 38 (the first five parts had fewer plates each). Usually only the first plate of each part is titled, to identify the object, but the plates in cahiers VI and VII are individually captioned. Various engravers signed or initialed the plates: Johann Lechner (the initial J. often confused with an F., cf. Thieme Becker), Kilian Ponheimer, Johann Assner, Franz Assner, Antoine Amon, M. Wohlfarter, and G. Brodkorb. Not all the engravers knew French; the caption for Cahier XIV, pl. 1, by J. Assner, for example, is spelled “Poutons.” This copy was owned by well-known decorators. Victor and Robert Baguès’s Parisian firm of luxury lighting was founded by their father Noel Baguès in Paris in the 1850s. The brothers were “heirs to an admirable and patiently amassed collection [of lighting fixtures].... Every type was represented...” (La Renaissance de l'art français et des industries de luxe, vol. 9 [1926], p. 490). In 1911 they branched out into fer forgé, or wrought iron works, and they established a conservatory to maintain the traditions of master ironworkers. It may have been the Baguès brothers who had the plates bound, before 1902: Franz Ostermann (d. 1938), a binder originally from Alsace, founded his Paris workshop in 1872 at 80 boulevard Malesherbes, moving to 28 rue Ampère in 1902 (data.bnf.fr). Census of recorded holdings: UK: Victoria & Albert: apparently complete copy, 474 plates & title. Austria: Vienna, Museum für angewandte Kunst (MAK): 189 plates. Franz cites a copy at the library of St. Peter’s Abbey in Salzburg, though it is not in their online catalogue. The Kupferstichkabinett in Vienna owns 340 drawings of the designs; many appear to be copies by his students (Franz, p. 877). Germany: Staatlichen Kunstbibliothek Berlin: 105 plates, from cahiers 1-2, 14, 22-25, 28-29, and 33-35. Ruhr-Universität Bochum, Universitätsbibliothek: 80 plates. US: Winterthur: 18 plates from cahier 1,3 and 5 (all showing stoves), and the title Getty Research Institute: the 12 plates of cahier 36 Poland: Polish National Libray: 3 plates. Literature: Berlin-Katalog 190; Rainald Franz, “Die Ornamentvorlagen des Johann Baptist Hagenauer,” Barockberichte, nos. 44-45 (2006), pp. 871-880. Cf. Thieme Becker 15: 466-468; Jessen, Ornamentstich, p. 357; ADB 10: 343; Biographisches Lexikon des Kaiserthums Oesterreich (1891), 7:193.

Gli Ordini della divota Compagnia delle dimesse; che vivono sotto il nome, et la protettione della purissima Madre di Dio Maria Vergine by PAGANI, Antonio (1526-1589)

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Title: Gli Ordini della divota Compagnia delle dimesse; che vivono sotto il nome, et la protettione della purissima Madre di Dio Maria Vergine
Author: PAGANI, Antonio (1526-1589)
Seller: Govi Rare Books LLC (United States)
Condition: Good+
Description: CONGREGATIO FILIARUM AB IMMACULATA CONCEPTIONE COMPAGNIA DELLE DIMESSE 4to (196x150). [12], 109, [3] pp. Collation: *6 A-O4. Woodcut device with St. Catherine of Alexandria kneeling before the Virgin Mary and Child on the title page, woodcut vignette of the Virgin Mary and Child in heaven surrounded by 16 smaller vignettes of the four Evangelists and 12 events from the life of the Virgin on l. *6v, woodcut vignette of the Virgin Mary and Child in heaven with angels within a typographic frame on l. O3r, woodcut coats-of-arms of the Cardinals Michele Priuli and Agostino Valier facing each other at the bottom of their respective letters of approval of the Ordini on ll. O3v-4r, colophon on l. O4v. With a dedication by the master and sisters of the Congregation to the Bishop of Vicenza Michele Priuli (1547-1603) dated 4 April 1587, followed by another dedication addressed by Antonio Pagani (from Monte San Felice, 1 September 1584) to the sisters of the Congregation and in particular to patronesses Deianira and Angela Valmarana, and Isabetta Franceschini who helped him to found the Order. With several historiated and decorative woodcut initials. Roman and italic types. 18th-century vellum, pastedowns covered with colored floral paper. A clean, well-preserved copy. First edition (reprinted in 1617, 1672, and 1889) of the statutes of the Congregation of the "Suore dimesse figlie di Maria Immacolata", a female religious institution founded in Vicenza in 1579 by Antonio Pagani, a friar of the local convent of the Minor Observants of San Biagio. In 1584 the Bishop of Vicenza, Michele Priuli (1547-1603) and the Apostolic Visitor in Vicenza, Agostino Valier (1531-1606) approved the congregation and its statutes (their letters of approval dated 1584 are printed at the end of the edition together with their coats-of-arms, ll. O3v-4r). The new order quickly spread to other towns of the Republic of Venice: in 1595 a new institute was founded in Murano, followed by others in Thiene, Schio, Feltre, Verona, Bergamo, Verona, Padua (1615), and Udine (1656). In 1810, only the houses of Udine and Padua survived the Napoleonic suppression of the religious orders. The Dimesse still exist today and, since 1842, have devoted themselves mainly to the education of girls (https://www.dimesse.it/about-us/). The Dimesse were grouped together in numbers of no more than nine, initially in different houses in Vicenza. They were all widows or young women who wished to begin a life of exclusive Christian poverty, deprived of the presence of outsiders. These women were not obliged to take vows, but they did follow a rather strict rule. A "massaro" acted as an intermediary with the outside world; the "nuns" praied during the day in honour of the Virgin Mary, did works of charity, received strangers who could stay no longer than three days; they could receive visits from relatives only on the 14th of each month; any increase in income had to be given to the poor of Christ. The internal structure of the rule provided for the annual election of a female adviser, the presence of a confessor and a chaplain at masses, and the observance of chastity, poverty and humility. Antonio Pagani was born in Venice and studied canon and civil law in Padua, graduating in 1545. Influenced by Sister Paola Antonia Negri of the Compagnia delle Angeliche, Pagani entered the Order of the Bernabites in 1546 and was ordained a priest in 1550. In 1557 he entered the Franciscan Order, first in Udine and then in 1558 in Venice at the convent of San Francesco della Vigna. Between 1559 and 1562 he visited several towns in Veneto and Istria as a much sought-after teacher and preacher. In 1562 the general of his Order sent him to the Council of Trent. In 1565 he was transferred to the monastery of San Biagio in Vicenza. The newly appointed Bishop Matteo Priuli entrusted him with the reorganisation of the diocese of Vicenza. It was in this city that Pagani founded the Compagnia dei Fratelli della Croce and, in 1579, the Congregation of the Dimesse, and a few years later he wrote and published the present Ordini. He died in January 1589 in Vicenza. During his lifetime he published two collections of poems (Rime, 1555 and Rime spirituali, 1570) and several devotional works both in Italian and Latin (cf. Sr. R. Ferraresso, Il Venerabile Antonio Pagani, in: "Quarto centenario della morte del Ven. Antonio Pagani 1589-1989. Francescano, teologo, riformatore", Le Venezie Sacre, nuova serie, anno V, 1/2, Padua, 1988, pp. 17-28; see also G. Mantese, Il Ven. Antonio Pagani nella storia religiosa del Cinquecento vicentino e veneto, in: "Op. cit.", pp. 29-55). "Si aprì così un ventennio [1565-1585] di attività intensa volta alla riforma dell'Oratorio di san Girolamo e alla fondazione della Compagnia dei Fratelli della Croce e delle Dimesse. La fondazione di queste ultime va ricondotta ad alcune terziarie francescane che, desiderose di attendere con maggior impegno alla vita interiore, vivevano ritirate in uno stabile, che comprendeva anche una torre, presso la chiesa di san Marcello. Animatore di questo movimento di terziarie, soprannominate 'Pizzocchere della Torre', che dipendevano dai Minori Osservanti di San Biagio, era il Pagani. Fra le terziarie vi erano le nobili vicentine Deianira e Angela Valmarana, cugine, e le sorelle Caterina, Domitilla e Paola Antonia Fiorini. A queste, che gradualmente si staccano dalle 'Pinzochere della Torre', fra' Antonio dà norme e regole, costituendo così, un nuovo nucleo di terziarie aventi una propria fisionomia. In un primo periodo, Deianira e le sue compagne, vivono in una casa del borgo Pusterla e mantengono contatti con le terziarie della torre. Poi, lentamente, ma con decisione, fin dall'agosto 1579, la separazione tra i due gruppi diviene sempre più profonda, fino al distacco completo. In un atto notarile, rogato in Vicenza il 25 agosto 1579, si legge: 'Vicentiae, in Borgo Pusterle in domo habitationis reverende sor Deianire per titulo de venditione et pretio finito et determinato de ducati mille et cento correnti, messer Sebastian Bovo, spicial in Vicentia, dà, vende et aliena alla magnifica domina sor Deianira fu quondam de magnifico Cavalier Gio Alvise nobile vicentina Pizochara de Terzo Ordine di Santo Francisco una casa grande, murata et solarata con corte et horto cinto de muro nel borgo de Portanova in contrà de Santo Roccho'. Con tale sistemazione si può dire abbia inizio la nuova Compagnia. Infatti, il 25 agosto 1579, venne sempre considerato come data di fondazione della Congregazione delle Dimesse. Il 2 ottobre 1584, il cardinale Agostino Valier, visitatore apostolico a Vicenza, si reca presso la Compagnia. E questa la prima comparsa ufficiale delle Dimesse che devono aver presentato al cardinale gli 'Ordini' " (Sr. R. Ferraresso, Op. cit., pp. 25-26; on the foundation of the congregation see also Sr. D. Anolfi, La fondazione delle Dimesse, in: "Op. cit.", pp. 95-124). "Agostino Valier firmly believed in the project of lay consecration of women carried out by the Company of Saint Ursula, which served as a prototype for other women's congregations that sprang up locally at that time for the spiritual perfection of the women admitted to them and for the service of the community. The first institute to join the Ursulines was that of the Dimesse. Founded in Vicenza in 1579 by the Franciscan and former Barnabite Antonio Pagani, and approved by Agostino Valier himself as Apostolic Visitor of Vicenza in 1584, the institute of the Dimesse was also established in Verona during the last period of Valier's episcopate. More precisely, in 1602, Valier gave Father Galese Nichesola permission to continue the foundation of the Congregation of the Dimesse in Verona, which had been founded a few years earlier in imitation of the institute in Vicenza. Some information about the birth of the foundation in Verona can also be found in a letter written by Father Galese Nichesola on the 20th of February 1617 as an introduction to the Ordini della divota Compagnia delle Dimesse, che vivono sotto il nome et la protettione della purissima Madre di Dio Maria Vergine (Verona, Angelo Tamo, 1617). The Veronese Ordini, with the exception of Nichesola's introductory letter and the final reference to the final part of the De Beguinis decree of the Council of Vienne of 1311, are essentially a new edition of the Ordini prepared by Father Antonio Pagani for the Compagnia delle Dimesse of Vicenza and first printed in 1587. It should be noted that the Veronese edition of 1617, like the princeps of 1587, ends precisely with the two documents approving the Ordini delle Dimesse of Vicenza, which bear the names of the Bishop of Vicenza, Michele Priuli, and the Apostolic Visitor, Agostino Valier. The two documents date back to 1584, the year in which the first version of the Ordini for the Dimesse -of which the autograph manuscript is preserved in the Bertoliana Library of Vicenza- was written, which was essentially taken up again in the 1587 edition, although enriched with four important chapters on the 'Capitolazione' and purged of more explicit references to Franciscan spirituality. Unlike the Company of Saint Ursula, which was mainly for young women who wished to live as consecrated women within their own families, the Congregation of the Dimesse welcomed women of all ages, virgins and widows, and offered them the possibility of living in an alternative residence to the family home. Like the Ursulines, the Dimesse followed a monastic rule, but without public vows, and played an active role in teaching Christian doctrine, caring for the sick and undertaking other pious works. These similarities were no coincidence. Behind them was the will of the ecclesiastical hierarchies, precisely at a time when the rules of the cloister were being tightened, to favour the presence of models of life for women as an alternative to the usual scenario of convent/marriage, giving them dignity and value, placing them within a well-defined organizational network under the bishop and responding to a precise pastoral and educational program, traceable to a fundamental categorical imperative: the sanctification of society. A certainly ambitious goal, but one that the post-Tridentine Church could not avoid, and to which it sought to respond with new and renewed models of spiritual perfection, ever closer to the needs and particularities of the individual, even, as in this case, of those "single women" who so alarmed society at the time. Here, then, we see that for Valier the virgins and widows of the Congregation of Saint Ursula, and later of the Congregation of the Dimesse, were certainly an attempt to offer a different paradigm of reference for those women who wished to live out their own choice of faith in the world, but they were also exceptional pastoral instruments with enormous educational potential. As models of holy life and at the same time as promoters of works of charity in the middle of the century, they were able to act in the intimacy of families, to intervene to comfort the suffering of others in hospitals and to work for the promotion of knowledge of Christian doctrine in the catechism schools of the parishes. These groups of 'pious women' were therefore another important element in Valier's program of spiritual renewal and, more generally, in that of the Tridentine Church" (E. Patrizi, Pastoralità ed educazione: l'episcopato di Agostino Valier nella Verona post-tridentina, Milan, 2015, I, pp. 367-368). Edit16, CNCE17188, OCLC, 1342995722 (only 2 copies in US libraries); P. Lotti, Opere del Pagani, in: "Op. cit.", pp. 166-167.

Cabala or the Rites and Ceremonies of the Cabalist. National Series. Arranged in accordance with the standard formula

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Title: Cabala or the Rites and Ceremonies of the Cabalist. National Series. Arranged in accordance with the standard formula
Seller: James & Mary Laurie Booksellers (A.B.A.A.) (United States)
Condition: Fine
Description: New York: Redding Masonic Supply Co, 1876. 1st Edition. Hardcover. Fine. Bound in publisher's original red leather folder 145 pp. 5 1/4 inches tall.

The Moment: And Other Essays by WOOLF, Virginia

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Seller: Houle Rare Books & Autographs

Title: The Moment: And Other Essays
Author: WOOLF, Virginia
Seller: Houle Rare Books & Autographs (United States)
Description: First American edition (so stated). Octavo. Dust jacket designed by Vanessa Bell (unclipped; nicks, slightly faded). Very good. No signatures. From the library of noted Hollywood director George Cukor, with his Paul Landacre bookplate on the front pastedown. Kirkpatrick A29b.

WESTERN UNION TELEGRAM (NOT SIGNED) by ZANUCK, DARRYL F]

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Title: WESTERN UNION TELEGRAM (NOT SIGNED)
Author: ZANUCK, DARRYL F]
Seller: Houle Rare Books & Autographs (United States)
Description: See Description. Very Good [ZANUCK, Darryl F.] Original Western Union Telegram, Los Angeles, August 7, 1938, to Walter Winchell at the St. Moritz Hotel in New York: "The Movietone scene is marvelous. As a matter of fact in addition to everything else you are bound to be know henceforth as the literary Clark Gable." Oblong 8vo, 1 page..

PHYSIOLOGIE DU GOUT by Brillat-Savarin, Jean Anthelme

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Title: PHYSIOLOGIE DU GOUT
Author: Brillat-Savarin, Jean Anthelme
Seller: lizzyoung bookseller (United States)
Description: Paris: Petite Encyclopédie Récréative, c. 1852. Hardcover. 632 pages. 11 x 7.5 cm. A petite version of this time-honored gastronomic classic, which is more about a conversation concerning cuisine or culinary arts - the genius is the authors entertaining analysis of casual conversation and doctrines, observations and anecdotes of every kind that may complement the pleasures of the table. Brillat-Savarin, the man who gave us the expression - "Tell me what you eat, and I will tell you who you are" - was already an old man when he published (1825), at his own expense for an audience of friends, the one book for which he would be remembered. During his lifetime, he had been neither a man of letters nor a cook, as is often thought, but a provincial lawyer who rose to become a judge of the appeals court in Paris. He died at seventy a few months after the publication of his masterpiece. Text in French.

Emmet Gowin Photographs by Gowin, Emmet

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Title: Emmet Gowin Photographs
Author: Gowin, Emmet
Seller: Dawson's Book Shop (United States)
Description: Philadelphia Museum of Art/Bulfinch Press/Little, Crown and Company, Boston/Toronto/London, 1990. First Edition, Limited Edition 11 in. x 12 in., 127 pages, Cloth, Dust Jacket, First edition. Some fading to jacket at spine.

Ordinary Miracles: The Photography of Lou Stoumen by Stoumen, Lou

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Title: Ordinary Miracles: The Photography of Lou Stoumen
Author: Stoumen, Lou
Seller: Dawson's Book Shop (United States)
Condition: Very good
Description: Hand Press, Los Angeles, (1981). Very good. Limited edition 12 x 9 inches, 100 pages, cloth, Dust Jacket, Signed.

The Hakluyt Handbook by QUINN, D. B.

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Title: The Hakluyt Handbook
Author: QUINN, D. B.
Seller: Lorne Bair Rare Books (United States)
Description: London: The Hakluyt Society, 1974. First Edition. First printing. Octavo (22cm). Two volumes in blue cloth with blue dust jackets; vol. I: xxvi,[332]pp; vol. II: [xvi],[333]-706pp; illustrated. Ownership inscriptions of noted zoologist James G. Mead, Curator Emeritus of Marine Mammals at the Smithsonian. Straight and bright, corners lightly bumped, minor marks to edges of textblocks, crack to front hinge of vol. I after half-title: Very Good. Jackets rubbed and slightly toned at edges, vol. I sunned at spine with minor tears to corners: Good or better. Second Series No. 144. "A reference guide to the works of the Reverend Richard Hakluyt (1552-1616) and a critical evaluation of his achievements as a collector, editor, translator and author of travel literature" (jakcet flap).

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