Artists' first edition drawings, preparatory studies, sketches, China ink and signed watercolors

Complete series of illustrations the tale of Red Riding Hood hand-painted on 12 glass plates intended for a magic lantern, the ancestor of the projector and the cinema.
Publisher's cardboard box, with the titles on the top board: “12 Superior English Made lantern slides”. Handwritten: “Red Riding Hood”. Signs of rubbing on the box. A stop in the split lid at 2cm. On plate 9, paper is missing which circles the plate in a border. On plate 12, the black part has a small scratch, this part encircling the medallion which is projected by the lantern. Otherwise collection in excellent condition.
Millikin & Lawley carried out their trade in magic lanterns and plates between 1860...

Ink and watercolour portrait of the poet Paul Verlaine by his friend Marie Crance, bearing the artist's signature and the handwritten caption “Paul Verlaine à l'hôpital”.

A single sheet, presented in a frame with a mount. An inscription on the back of the frame—“written in the margin (by the framer): ‘For Messrs. Thénot and Lercey, 25 April 1894’”—provides a likely terminus post quem for the drawing.
 
Marie Crance (1860–1945), nicknamed Marie-aux-fleurs, was at the time the companion of the illustrator Frédéric-Auguste Cazals, whom she married in 1912. A laundress, maid, and occasional singer in the poet’s favourite...

Edition illustrated with 10 original color lithographs hors-texte by Jean-Gabriel Domergue, one of 40 numbered copies on Rives vellum.
Half red morocco binding with bands, smooth spine, date gilt at tail, boards, endpapers and pastedowns of moiré and gilt effect paper, covers and spine preserved, top edge gilt, contemporary binding signed Gauché.
The work is also ornamented with 26 illustrations in the text, in one or two tones, as chapter headpieces, tailpieces in red by Jean-Gabriel Domergue.
Handsome copy containing the full suite of 18 in-text illustrations.
Manuscript annotation in blue ballpoint pen on the title page: unique copy.
Indeed, on two hors-texte...

First edition printed in 310 copies, ours being one of 285 numbered copies on Auvergne paper.

Our copy is enhanced with an original drawing signed by Léon Courbouleix. 
Bradel binding in full vellum, smooth spine decorated with an original drawing and pen title, covers decorated with drawings by Gaston Hoffmann, marbled paper slipcase.
Very handsome work entirely engraved with etching, printed on hand press by Léon Courbouleix and bound in a very beautiful painted binding by Gaston Hoffmann.

First edition illustrated with wood engravings in the text by Gavarni, Daumier, D'Aubigny...
Bradel binding in full beige percaline, smooth spine with a black paper label, front cover decorated with an oil painting after the frontispiece, signed lower right "A. Dangleterre d'après document d'époque". Headcaps and joints skillfully restored.
A rare publication on Paris under Louis-Philippe. The work proceeds by subjects and articles: the wet-nurses’ office, flower sellers, baths, streetlamps, pavements, theatre outings, beards and moustaches, the Luxembourg Gardens, the Opera Ball, the auctioneers’ hall, lorettes and courtesans (Alexandre Dumas), restaurants and...

Original ink drawing, signed E. Devéria in the lower right.
Portrait of a young man in formal attire, holding a handkerchief in his left hand.
Eugène Devéria (1805–1865) was one of the major painters of the Romantic movement alongside Eugène Delacroix. From the start, his submissions to the Salon attracted notice, culminating in 1827 with la Naissance de Henri IV [The Birth of Henry IV], which enjoyed considerable success. He continued to depict historical scenes, notably Puget presenting his Milon of Crotone to Louis XIV...

Original drawing dated and signed by Louis Pons, to his friend art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, which he dedicated to him on the invitation card for the opening of the exhibition of his works at the Château de Vascoeuil on Saturday, March 29, 2008.
 Louis Pons drew, in black ink, on the recto and verso, a curious bird: a magpie huddled in on itself and apparently convalescent surmounted by this manuscript dedication: "Paris ? ? Mars 2008, j'espère que ta santé est meilleure. Amitiés de Nelly et Louis Pons." ["Paris ? ? March 2008, I hope your health is better. Friendship from Nelly and Louis...

China, probably 19th century, undated. An album of twelve erotic paintings in ink and colour on paper, each mounted on silk and depicting a couple in an amorous scene, either in a domestic interior or in a garden or outdoor setting. Each painting measures 16 x 19.2 cm.

Accordion-fold album, 19 x 25.4 cm, the boards covered in green silk patterned with polychrome crosses over a diamond lattice, the endpapers in figured cream silk. Small losses of fabric along the edges of the boards, two further small losses to the rear board, and one fold of the accordion partly split. The twelve paintings retain a remarkable freshness of colour.

Original ink on cartridge paper, signed in ink on the lower right with Henri Michaux's monogram “HM.” A tiny tear, causing no effect, at the top of the leaf.
The drawing has been authenticated by M. Franck Leibovici, Henri Michaux's beneficiary, and will be entered into the catalogue raisonné in preparation.

Original ink wash drawing. Of pleasant sepia color, in perfect state of preservation. It represents an Italian landscape, executed in the first quarter of the 19th century. The author signed his drawing at lower right.
Rome in the 19th century was a place of convergence for European artists. The finest among them came there to train by copying paintings of Renaissance masters. It was also an opportunity for them to paint or draw the landscapes and nature of Latium.