A collection of portraits of members of the mercantile and banking dynasty founded by Jakob Fugger (circa 1430-1518), each portrait accompanied by appropriate heraldic insignia, and displayed within an architectural or grotesque frame of impressive quality and size (platemarks 340 × 230 mm). On the versos of the portraits are printed brief genealogical notices apparently supplied by Marcus Henning (1561-circa 1622). The book has been long recognised as a valuable document for the history of costume, especially for women's clothing. Indeed, its most striking feature is the high proportion of women portrayed: nearly half of the portraits in this edition (sixty-two of 127) depict women, the wives and daughters of the Fuggers in nearly equal number.
Three suites of prints engraved after designs by Claude Vignon, a painter and prolific originator of designs for illustrators, with a distinctive Mannerist-Caravaggesque style well-suited for heroic portraiture. In La Galerie des femmes fortes, twenty famous women of ancient, biblical, and recent history are shown in full-length, theatrical poses of great pathos, and often in movement. Different moments in time are depicted in the foreground and background of each composition; the foreground figure of “Judith”, for example, is shown with the severed head of Holofernes, while in the background scene an angel hands the praying heroine her sword. Gilles Rousselet (1610-1686) engraved the figure in each print and Abraham Bosse (1602-1676) etched the background scene. In the following suite of prints, known as the Sept Merveilles du Monde, Rousselet again engraved the full-length figures depicted in the foregrounds and Bosse etched the canonical seven wonders of the ancient world shown in the backgrounds. The third suite in the volume, known as Les Sept Sages de la Grèce, depicts the purported founders of Western Philosophy. Jean Couvay (1622-circa 1680) here engraved the foreground figures while Abraham Bosse again etched the background scenes.
Two volumes (25 cm), I: xvi, 356 pp. II: 565 pp. 2488 catalogue entries. Uniformly bound in contemporary cloth-backed boards, red skiver lettering-pieces, top edges gilt. - Catalogue of French portrait prints in the collection of Ambroise Firmin-Didot (1790-1876); 2488 entries.”Tiré a 150 exemplaires sur papier vergé”, of which this is no. 27, intended for Charles-Marie-Gabriel Cousin (1822-1890?). ¶ Endpapers of both volumes have (binder’s?) inkstamp: Impr. Libr. Réunies; exlibris: Ian Roland Kerr-Ritchie; exlibris: A.C. Lascarides | New House | Ham Common. Repeated ink stamp: Kerr-Ritchie Art Library.
Two volumes (31.5 and 37 cm), I: 104, lxxix (9) pp., including 1 tipped-in colour plate. II:  pp., including 94 tipped-in colour plates. “Nota para la colocacion de los retratos” tipped onto endpaper. Harmonious leather bindings. - Photolithographic reproduction of the manuscript Libro de retratos (Biblioteca de la Fundación Lázaro Galdiano. Signatura: M 6-1; Inventario: 15654), together with a commentary by the scholar and owner of the manuscript for some 40 years, José María Asensio y Toledo (previously published at Seville in 1867). The manuscript contains fifty-six bust portrait drawings in black and red chalk and grey wash and forty-four “elogios”, short biographies, written by Pacheco or other writers, in honour of contemporary, “illustrious and memorable” men. The subjects portrayed are all Spanish with the exception of the Flemish painter Peter de Kempeneer; work on the book probably began late in sixteenth century (the frontispiece is dated 1599). On the methods and techniques of reproduction used in this facsimile (produced 1881-1884), see Juan Carrete Parrondo, “El Libro de retratos de Pacheco” in Goya 193-195 (July-December 1986), pp.168-173. Marta Cacho Casal, “The ‘true likenesses’ in Francisco Pacheco’s Libro de retratos” in Renaissance Studies, volume 24 (2010), pp.381-406. ¶ Ink stamp on first leaf on each volume: Manuel de la Puente y Cueva | Sevilla. Hinges of volume II reinforced, endpapers discoloured.
London, Wellcome Institute of the History of Medicine, 1973
(31 cm), xxiv, 459 (1) pp., frontispiece, 377 portraits on 95 p. of plates. Publisher’s cloth, pictorial dust jacket. - 3305 individuals listed. Indices of painters and draughtsmen, sculptors, engravers, lithographers, etc. ¶ Dust jacket rubbed with several small losses at head of the spine; otherwise a very well-preserved copy.
Sarasota, John and Mable Ringling Museum of Art, 1984
(28 cm), 214 (2) pp., illustrations (some in colour). Publisher’s pictorial wrappers. - Exhibition of Italian portraits in all media, including paintings, drawings, prints, sculpture, and commemorative medals, drawn from more than 30 American and Canadian collections. The 75 featured works date from 1590-1720. Four introductory essays, on Ottavio Leoni’s portraits “alla macchia”; the portraiture of Francesco Redi; portraits of Counter-Reformation Saints; and Papal portrait busts in bronze. ¶ Light shelf wear; otherwise a fine, unmarked copy.
(30 cm), 96 pp. (reproduced from typescript). Self-wrapper. - 325 prints of 232 sitters (collection offered en-bloc). ‘The prints in this collection range in date from the mid-16th century to 1946 and include several engravings of which Hollstein was unable to trace any impression, lithographs by Kriehuber and others from the rare Viennese “Künstler-Album”, as well as portraits which have strayed from suites and books. Comparison with Singer’s monumental Allgemeiner Bildniskatalog (1930-1936) and Neuer Bildniskatalog (1937-1938), the catalogue of portraits in the Bibliothèque nationale de France, compiled by Duplessis (1896-1911), the catalogue of engraved portraits in the British Museum (1908-1925), the sale catalogues compiled by Muller, Drugulin, Diepenbroick-Grüter, as well as other inventories, shows that the collection comprises nearly two-thirds of all recorded portraits of architects. To the best of our knowledge, there is no remotely comparable collection in any art or architectural library or print room’ (from the Preface). Indices of Printmakers and Designers and Sitters follow the descriptions of the prints, which are arranged alphabetically by sitter.
(30 cm), 40 pp. (reproduced from typescript). Self-wrapper. - 111 prints of 102 sitters (collection offered en-bloc). - Indices of Printmakers and Designers and Sitters follow the descriptions of the prints, which are arranged alphabetically by sitter.
(23 cm),  pp., illustrations.  entries. Publisher’s pictorial self-wrappers. - Exhibition marking the bicentennial of the invention of lithography. Four of the exhibited items were from the Grolier Club’s own collection; all others were loaned by the Metropolitan Museum of Art. For Jean Grolier & His Friends: 125 Years of Grolier Club Exhibitions and Publications, 1884-2009 (New York 2009), P377. ¶ Excellent, unmarked copy.