New York & Cambridge, Macmillan Company / Cambridge University Press, 1928
(25.5 cm), xiii (3), 344 (2) pp., 16 plates. Publisher’s cloth, printed paper lettering pieces on upper cover and spine, dust jacket. - A continuation volume (Art in England 1821-1837, Cambridge: University Press, 1930) is not present. ¶ Booksellers’ label: From the Books of J.W. Robinson Company, Seventh & Grand, Los Angeles. Price clipped from dust jacket; jacket defective at foot of spine, with losses; otherwise an immaculate copy.
(24.5 cm), 230 (2) pp., text illustrations. 252 catalogue entries. Publisher’s quarter-green cloth, emblem printed on upper cover. - Revised second edition of this provocative exhibition (cf. Gilberto Pellizzola, “Nino Barbantini e l’Esposizione della Pittura ferrarese del Rinascimento” in Musei Ferraresi, volume 12, 1982, pp.157-170). ¶ Edges of the binding stained, headcap repaired with tape.
(29 cm), viii, 310 (2) pp., plus 6 photogravure plates. Publisher’s vellum-backed grey cloth boards. - The author was Director of the National Portrait Gallery. ¶ Provenance: Victor Spark (1898-1991), New York dealer in Old Master paintings; Christie’s South Kensington, Art reference books from the estate of Victor D. Spark, 14 February 1992, lot 109, £160. Fine copy.
London & Florence, Phaidon Press / G.C. Sansoni, 1958
Two volumes (27 cm), I: xvi (2), 213 (3) pp., frontispiece (in colour), series of black & white illustrations (nos. 1-628). II: (6), 45 (3) pp., frontispiece (in colour), series of black & white illustrations (nos. 629-1333). Uniform publisher’s green cloth, dust jackets; original plain card slipcase. ¶ Superior, unmarked copy.
(27 cm), xiii (1), 488 pp., frontispiece (in colour), 400 numbered black & white illustrations included in pagination, plus 16 colour plates outside pagination. Publisher’s beige cloth, title lettered on upper cover. - The four essays in this volume were first published separately from 1894 to 1907, and collected in 1952. The present is the fifth impression. ¶ Inscription on endpaper: John Watson, 1960. Good copy.
Two volumes (24.5 cm), I: xxvi, 495 (1) pp., frontispiece, text illustrations. II: , 553 (1) pp., text illustrations. Uniform publisher’s brown cloth, dust jackets. - The first two volumes (only) of Pope’s edition (volumes III-V were published in 1963). ¶ Prices clipped from flaps of dust jackets; jackets torn, significant losses. Internally bright and unmarked.
London & Greenwich, CT, Phaidon Publishers Inc. / New York Graphic Society Publishers Ltd, 1963
Two volumes (27 cm), I: xiv (2), 222 (4) pp., frontispiece (in colour), series of black & white illustrations (nos. 1-590). II: (8), 39 (1) pp., frontispiece (in colour), series of black & white illustrations (nos. 591-1478). Uniform publisher’s beige cloth, lettered. ¶ Very good, unmarked set. Lacking dust jackets.
Two volumes (27 cm), I: xiv (2), 222 (2) pp., frontispiece (in colour), black & white illustrations (nos. 1-590). II: (6), 39 (1) pp., frontispiece (in colour), black & white illustrations (nos. 591-1478). Uniform publisher’s beige cloth, lettered; dust jackets; original card slipcase. ¶ Slipcase rubbed, its printed labels discoloured; internally in excellent state of preservation.
(30 cm), 281 (1) pp., illustrations (some in colour, tipped-in). Catalogue entries numbered 350-701. Publisher’s cloth binding. - A second edition was published in 1991. ¶ Lacking dust jacket; otherwise a very good, unmarked copy.
(25.5 cm), 33 (9),  leaves of plates (figs.1-50). Errata slip tipped to p.. Publisher’s vellum-backed green paper boards, spine lettered in gilt. - An essay discussing Rembrandt’s attraction to subjects from the Book of Tobit and obsession with themes of blindness (Tobit, Belisarius, Homer) and filial duty. Held believed that a drawing in the Ashmolean Museum (Benesch 64) with the caption ‘Harman Gerrits van der Rhijn’ written in Rembrandt’s hand shows Rembrandt’s father afflicted with blindness at the end of his life. Were this the case, Rembrandt’s numerous illustrations from the Book of Tobit become a form of personal testimony. 1000 copies printed by Harold McGrath at the Gehenna Press, with 50 plates by Meriden Gravure. Trade issue (25 copies were bound at the Harcourt Bindery in half-leather). Robert H. Cornell, Leonard Baskin: The Northampton Years (Springfield, MA 1977), B.3. ¶ This copy numbered 184. Fine, unmarked copy.
London, Phaidon Press / Samuel H. Kress Foundation, 1966-1973
Three volumes. I (XIII-XV century, 1966): viii, 435 (1) pp., 451 illustrations (17 in colour, tipped-in). II (XV-XVI century, 1968): (6) 459 (1) pp., 445 illustrations (13 in colour, tipped-in). III (XVI-XVIII century, 1973): (6) 470 (4) pp., 340 illustrations (9 in colour, tipped-in). Publisher’s blue cloth bindings. - The first attempt to publish in one place all the Italian paintings in the Kress collection. The entries provide all the essential information about dimensions, medium, support, provenance, exhibitions, bibliography; all the works are illustrated, and the volume is exhaustively indexed. The written opinions (“certificates”) of the experts upon whom Kress relied are meticulously reported. Arntzen & Rainwater M-9. ¶ Dust jackets lacking. Good, unmarked set.
Four volumes (32 cm), uniformly bound in contemporary blue cloth. - Facsimile reprint of the James Dallaway-Ralph N. Wornum edition, published London: Chatto & Windus, 1876 (in three volumes). Added here, as a fourth volume, is a facsimile of the Frederick W. Hilles and Philip B. Daghlian edition of Anecdotes of Painting in England 1760-1795 (New Haven & London 1937). ¶ Gift inscription in ink on endpaper of volume I; otherwise an excellent, unmarked set.
New York, Metropolitan Museum of Art / New York Graphic Society, 1971-1986
Four volumes (25 cm), I (1971): (12) 141 (3) pp., 125 black & white plates (pls.1-125). II (1973): (10) 114 (2) pp., 107 black & white plates (pls.1-107). III (1980): (10), 119 (1) pp., 112 black & white plates (pls.1-112). IV (1986): (10) 98 (2) pp., 77 black & white plates (pls.1-77). Uniform publisher’s brown cloth, pictorial dust jacket (except vol. II, in publisher’s printed wrapper, with pictorial dust jacket). - Catalogues of some 400 Italian paintings in the Metropolitan Museum. Each catalogue is arranged alphabetically by artist; a brief biography of each artist is given, and every painting is illustrated. ¶ Fine set with minimal traces of use and no marks of ownership.
(25.5 cm), xxii, 678 pp. Publisher’s orange cloth, lettered; dust jacket. - An important work of reference of enduring utility. Each picture is listed at least three times, in separate indexes of “Artists” (alphabetically by name), “Subjects”, and “Collections” (alphabetically by location). A system of lettering identifies copies, works by followers, etc. References are provided to publications in which the work is discussed and reproduced. ¶ Dust jacket rubbed, piece missing from front; otherwise a good, unmarked copy.
(25 cm), xiii (1), 317 (1) pp. numerous black & white illustrations. Publisher’s pictorial wrappers. - 385 catalogue entries for paintings, most bequeathed to the Museum by the Rev. C.H. Townshend, John Jones, C.A. Ionides, Rev. Alexander Dyce, and other 19th-century benefactors. ¶ Text block loosening in wrapper; otherwise a good, unmarked copy.
(25 cm), 88 pp., plus  p. of illustrations (pls.1-48). Publisher’s pictorial wrappers. - Exhibition making the tercentenary of the painter’s death. The catalogue entries for Rosa’s pictures were written by Helen Langdon, those for other painters of the Seicento by Kitson himself. Thirty-one drawings were exhibited and twenty-seven etchings. ¶ Spine sunned; otherwise a very good copy.
(25 cm), 76 pp., 88 monochrome illustrations on  leaves of plates. Publisher’s pictorial wrappers. - First retrospective exhibition of the little-known work of this French painter who worked in Rome, producing mainly figure studies and landscape. Publishes new chronology of the artist based on recent research. ¶ Very good, unmarked copy.