A revised edition of the author’s Nachrichten von Franckfurter Künstlern und Kunst-Sachen (Frankfurt am Main 1780), containing in its first part biographical notices of Frankfurt painters, printmakers, sculptors, architects, goldsmiths, and other craftsmen, and in the “Anhang” extensive descriptions of local public and private collections, together with a list of engraved portraits of Frankfurt artists. Hüsgen dedicates the new edition to Johann Wolfgang von Goethe, cites one of Goethe’s etchings (”Landschaft mit altem Turm”, 1769), and in the appendix describes the collections in the family home (”bey Frau Rath Goehte, auf dem grosen Hirschgraben”) and mentions nine engraved portraits of Goethe. Although copies are in the principal German libraries, the book is not widely held elsewhere.
Four volumes (23 cm), I (1840): ix (3), 384 pp. II (1843): 412 (2) pp. III (1844): 588 (2) pp. IV (1846): 664 pp. Uniformly bound in early 20th century Italian patterned-paper boards (upper cover of original printed wrappers retained in each volume). ¶ Exlibris Massimo Listri. Backs sunned and lightly waterstained; occasional internal foxing.
Five volumes (24 cm), I (1872): xiv, (2) 448 pp. II (1872): (6) 424 (2) pp. III (1872): (6), 393 (1) pp. IV (1874): (6) 370 pp. V (1878): (8) 412 pp. Uniformly bound in contemporary dark brown half-morocco, top edges gilt. - In this set, volumes I-III are reprints of the original editions (1864-1866), newly edited by R. Weigel; volumes IV-V are in original editions. ¶ Provenance: E.P. Goldschmidt (1887-1954); sale by Christie's, The stock and reference library of E.P. Goldschmidt and Co. Ltd, London, 8-9 July 1993, lot 292. Very good copy.
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.
Two volumes (29 cm), lxiv, 931 pp. (paged continuously), frontispiece, 56 plates (some folding). Publisher’s printed wrappers. - Catalogue raisonné of the graphic oeuvre of the prolific book illustrators Jan (1649-1712) and Caspar (1672-1708) Luyken, father and son (some 4,500 different prints as illustrations for at least 500 different books). The catalogue is based on a vast collection assembled by Christiaan Pieter van Eeghen (1816-1889) and was compiled by his son, Pieter, assisted by the first director of the Amsterdam Rijksprentenkabinet, Johan Philip van der Kellen. ¶ Several plates slightly affected by foxing. Collector's discreet blind stamp on upper covers; otherwise a fine copy with no other marks of ownership.
Paris, Loys Delteil & Maurice Le Garrec, 1925-1927
Two volumes (30 cm), I: 411 (5) pp., frontispiece and  plates. II: (4) pp., 231 plates. Publisher’s printed wrappers (text) and cloth-back portfolio tied with ribbons (plates). - Catalogue raisonné for the French engraver Robert Nanteuil (1618-1683), still the principal authority (230 prints by, and 10+ doubtful and unfinished prints). The catalogue is based on the authors’ collection, purchased en bloc in 1928 by Lessing Rosenwald (Ruth Fine, Lessing J. Rosenwald: tribute to a collector, Washington, DC 1982, p.125). “Ouvrage destiné à la Société pour l’Étude de la gravure française à Paris, mais dont la publication, déjà retardé par la guerre de 1914, est encore compromise par le décès de Ch. Wickert en 1918” (F. Lugt, Les Marques de collections de dessins et d’estampes, The Hague 1921-1956, L.608). “Il a été tiré de ce catalogue: 750 exemplaires (dont 50 hors commerce)”. ¶ Excellent, unmarked copy. Loosely inserted is a  pp. prospectus and specimen plate (”prix de souscription: 200 francs”).
Twenty-nine volumes (28-29 cm), uniformly bound in collector’s quarter-morocco (23 volumes), or as issued in publisher’s bindings (6 volumes). - Indispensable catalogue of the holdings of French prints at the Bibliothèque nationale de France. A near-complete set of these three series, lacking two recent volumes, both still in print: Graveurs du XVIIe siècle, 13: Pierre Lepautre, issued in 2008 (in print, €115; ISBN 9782717723953; http://editions.bnf.fr/) and Graveurs du dix-huitième siècle, 15: Georges Louis Le Rouge: les jardins anglo-chinois, published in 2004 (in print, €60; ISBN 9782717723083; http://editions.bnf.fr/). Five volumes are in facsimile reprints published 1967-1968; all other volumes are original editions. ¶ In superb state of preservation.
London & New York, M. Knoedler & Co. / Bernard Quaritch, 1938-1948
Two parts in seven volumes (34 cm), I (Catalogue, Part I, 1938): xxvi (2), 345 (1) pp., frontispiece. Copy 93 (of 375). II (Plates, 1938): (8) pp., plates 1-171. Copy 93 (of 375). III (Plates, 1938): (8) pp., plates 172-319. Copy 93 (of 375). IV (Plates, 1938): (8) pp., plates 320-485. Copy 93 (of 375). V (Catalogue, Part II, 1948): xxii, 347 (1) pp., frontispiece. Copy 99 (of 275). VI (Plates 1948): (8) pp., plates 486-698. Copy 178 (of 275). VII (Plates, 1948): (8) pp., plates 699-916. Copy 251 (of 275). Uniform publisher’s blue buckram. - The core of this monumental work is Hind’s study of the collection of early Italian engravings in the British Museum. The first part (vols. I-IV) is devoted to “Florentine engravings and Anonymous prints of other Schools” (catalogue and 714 illustrations on 488 plates) and the second part (vols. V-VII) to “Known Masters other than Florentine”, Monogrammists, and Anonymous Masters (catalogue and 692 illustrations on 431 plates). Biographical and bibliographical information on each artist is followed by a list of his works. The edition was limited to 375 copies (vols. I-IV) or 275 copies (vols. V-VII); both text volumes are inscribed by the author, as usual. The author presented his manuscript to Lessing Rosenwald in 1948 (now Library of Congress, Rosenwald Collection, NE659.H.48). ¶ From the auction sale of the Handbibliothek L’Art Ancien, Zürich (Auktion 3/I), conducted by F. Zisska & R. Kistner, Munich, 27-28 March 1984, lot 671. Occasional pencil annotations by the proprietor of the firm, Erwin Rosenthal (1889-1981). Excellent set.
Milan, Istituto Italiano d’Arti Grafiche di Bergamo / Comune di Milano, 1940
(33 cm), xxxi, 165 pp., illustrations, 19 plates. Publisher’s printed wrapper, two-colour pictorial dust jacket. - Catalogue of prints produced by Giuseppe Maria Mitelli (1634-1718): 679 prints by, 9 doubtful and rejected prints. Bibliography for each entry. ¶ Very good, unmarked copy.
Two volumes (30.5 cm), I (The life and art of Albert Dürer): x (2), 311 (1) pp., including frontispiece, text illustrations. Addenda slip loosely inserted. II (Handlist, concordances, and illustrations): xxxvi, 206 (2) pp., frontispiece, 325 illustrations. 1734 catalogue entries. Uniform publisher’s black cloth, title lettered in gilt on spine, and Dürer’s monogram stamped in gilt on upper covers. - First edition of this classic work, with the “Handlist” and “Concordance” omitted in the fourth (1955) and later editions. The prints (nos. 108-456) are organised by medium, then by whether listed by Bartsch and Passavant (or not), and again by subject matter. See Jeffrey Chipps Smith, “Panofsky’s Dürer” in Dürer, l’Italia e l’Europa, edited by Sybille Ebert-Schifferer and Kristina Herrmann-Fiore (Milan 2011), pp.186-193. ¶ Good copy.
(24 cm), xvi, 249 (1) pp., frontispiece, 64 illustrations on 62 leaves. Publisher’s printed wrappers. - Cort worked almost entirely as a reproductive engraver, collaborating with Titian, Girolamo Muziano, the brother Zuccaro, and Giulio Clovio, and before his departure for Italy in 1565 (where he died), he had engraved in the workshop of Hieronymus Cock the designs of Frans Floris and Maerten van Heemskerck. He also produced prints after Raphael, Correggio, and Federico Barocci. ¶ Wrappers lightly finger-marked; otherwise a fine copy with minimal traces of use and no marks of ownership.
London, British Museum / British Museum Publications Limited, 1950-1983
Five parts in nine volumes (25 cm), uniformly bound in publisher’s cloth, pictorial dust jackets. - First editions, except for part II (Michelangelo and his studio) in reprint of 1953 edition, published to coincide with the 500th anniversary of the artist’s birth. Not included is part  Roman Baroque drawings, c. 1620 to c. 1700, by Nicholas Turner, with the assistance of Rhoda Eitel-Porter, published in 1999 (can be supplied separately, price approximately £90). ¶ Excellent, unmarked copies.
Three volumes (25.5 cm), I (1952): xxx, 333 pp., 156 plates (319 illustrations) and frontispiece. II (1955): xxxii, 413 pp., 252 plates (617 illustrations) and frontispiece. III (1964): xiv, 396 pp., 214 plates (466 illustrations). Uniform publisher’s red cloth, printed dust jackets (volumes II and III only). - A work intended to give a complete history of British engraving (in copper, or other metal) from the Tudor Period through the reign of Charles I; a fourth volume, which was to have covered 1649 to 1688, was never published. Each volume is arranged in three parts: the first deals with the more important works by both known and anonymous masters; the second lists engravers in chronological order; and the third describes the prints of anonymous engravers, together with the works of foreign engravers working in England. Each print is located in at least one collection. Many engravings, wholly cartographic in character are described. “Every historian of the period, every student of its literature or of its art, will want to own this book” (Frances A. Yates, from a review of volume III, in The Book Collector, Winter 1964, pp.514-518). ¶ Endpapers of volume I slightly spotted, and a few marks and insignificant stains on binding; lacking its dust jacket. The other two volumes are in fine state. Overall, an excellent, clean set of this standard work.
(20.5 cm), xiii, 113 pp.,  leaves of plates. 108 catalogue entries. Publisher’s pictorial wrappers. - Catalogue for an exhibition centred on a group of 86 architectural drawings by Fuga for projects in Rome, from 1722 until 1751. Drawings by Fuga of ephemeral constructions (macchine for fireworks and catafalques) are included. Also shown were drawings by lesser contemporaries: Luigi Vanvitelli, Giovanni Antinori, Giacinto Ballerini, Filippo Cesari, and G.A. Bianchi; nearly half the exhibited works are reproduced. “The catalogue provides the material for a complete reassessment of the achievement of Fuga, whose anti-baroque, proto-neo-classic style emerges as having its source in his birthplace Florence rather than Rome, the city of his adoption… [It] will be of permanent value to anyone interested in Roman architecture of the first half of the eighteenth century, a subject which has at present received very little attention” (from a notice by F.J.B. Watson, in The Burlington Magazine, volume 98, August 1956, pp.287-288). ¶ From the library of Joseph Clemens, Prinz von Bayern (1902-1990), sold by Schneider-Henn, Kunstbücher und Dokumentation aus der Bibliothek Joseph Clemens Prinz von Bayern, Munich, 11-12 May 1992, lot 894. Clean tear in lower wrapper (2 cm).
Paris, Les Beaux-arts / Presses Universitaires de France, 1957
(28 cm), (8) 292 (4) pp., illustrations. Publisher’s red cloth binding. - A catalogue of 239 prints after Poussin, and 13 prints perhaps after him (to 1700). Appended (pp.278-282) is “Le Premier catalogue des gravures d’après Poussin”, from Florent le Comte’s Cabinet des singularitez (Paris 1699). Reprinted from Gazette des Beaux Arts (nos. 1040-1043, September-December 1955) in an edition of 500 copies. ¶ Excellent, unmarked copy.
(25.5 cm), 243 pp., illustrations. Publisher’s printed wrappers. - The bibliography (62 editions) is preceded by an account of the original manuscript attributed to Leonardo’s pupil, Francesco Melzi, and of more than thirty manuscript copies, all previous to the first edition printed in 1651. The printed editions are then related to their manuscript sources, and to each other; a number of “ghosts” appearing in Verga’s Bibliografia Vinciana (1931) are exorcised. ¶ Author’s presentation copy, inscribed by Steinitz “To my friends | One of the first 25 copies, each one signed no. 1” and a list of errata also in her hand. Loosely inserted are two copies of the publisher’s prospectus; and an offprint of Kate Steinitz, “Bibliography never ends…” from Raccolta Vinciana, volume 18 (1980), pp.97-111.
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.
(24 cm), 352 pp., with numerous text illustrations, 104 p. of plates, 12 leaves of advertisements. Publisher’s pictorial wrappers. ¶ Lamination on wrappers peeling from spine, as often. Good, unmarked copy.
(26.5 cm), 270 (2) pp., numerous illustrations. Publisher’s printed wrappers. - Includes a useful chronological list of illustrated libretti published by Torelli 1641-1677, stating the number of plates in each and their engravers. ¶ Short tears in wrapper along joints; otherwise a very good, unmarked copy. Loosely inserted is an Invitation to public disputation, 18 March 1961 (this was the author’s dissertation, Faculty of Arts, University of Uppsala).