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.
(30 cm), (6) 45 pp., 149 illustrations on 112 p. Publisher’s cloth, dust jacket. - Reprint with new introductory material of the 1951 edition, in which Hofer, the initiator and spiritus rector of the Department of Graphic Arts in the Harvard College Library, presented about 150 of some 1000 illustrated baroque books collected under his aegis. Although the “Introduction” and “Descriptions of Reproductions” are brief, they offer some important and original observations. ¶ Fine copy.
(24.5 cm), 43 (1) pp.,  colour plates,  p. of black & white plates. 314 catalogue entries. Publisher’s pictorial wrappers. - Exhibition of the collection of the photojournalist Felix H. Man (pseudonym of Hans Felix Sigismund Baumann; 1893-1985). The collection was sold in 1972 to the National Gallery of Australia through the agency of Ben Weinreb. ¶ Very good copy.
(25 cm), 467 (1) pp., 104 illustrations on 48 plates (included in pagination). Publisher’s cloth, pictorial dust jacket; original plain card slipcase. - Catalogue of approximately 7000 lithographs. A public sale of the author’s personal collection was aborted after the first instalment (Masters of the lithograph, the Winkler collection, Part 1, conducted by Bonhams, London, 6 May 1998). ¶ Excellent, unmarked copy. Lamination beginning to separate from dust jacket.
(29 cm), 282 pp., 192 illustrations. Publisher’s cloth. - Only edition. Educated at the Universities of Berlin, Vienna and Frankfurt, where he concentrated on early book illustration, Lehmann-Haupt emigrated to the United States in 1929, and the following year was named curator of rare books of Columbia University Library. In 1950 he became chief cataloguer for the bookseller H.P. Kraus. ¶ Fine copy.
(28 cm), ix (1), 72 (2) pp., 72 plates (24 in colour). Publisher’s printed wrappers. - Exhibition of illustrated books and individual prints from the Yale Center’s collection (189 catalogue entries). First edition (reprinted 1986). Wrapper lightly discoloured; otherwise a very good copy.
(25.5 cm), 414 (2) pp., 551 +10 text illustrations. Publisher’s printed wrappers. - Based on the holdings of 14,000 cinquecentine in the Biblioteca Angelica. Brief notes explicate the symbolism of the devices; index of mottos. Publisher’s retail price €87 (www.olschki.it/libro/9788822231291). ¶ Light shelf-wear.
Two volumes (30 cm), I (Testo): 525 pp. II (Tavole):  pp. Publisher’s cloth bindings, original slipcase. - First edition (reviewed by D.E. Rhodes, in The Library, series 6, volume 11, 1989). ¶ Fine copy.
(26 cm), xvi, 263 pp., 66 plates. Publisher’s cloth, dust jacket. - A history of the introduction and refinement of the steel-engraving process from 1818-1823 and of its rapid rise in popularity as a reproductive medium, followed by chapters entitled “The Art of Steel Engraving” and “The Books” with useful biographies of artists, engravers, printers and publishers, and an account of the ascendancy of rival processes - lithography, wood-engraving, and photogravure. ¶ Very good, unmarked copy.
Paris & Lausanne, Bibliothèque nationale de France / Musée Olimpique, 1996
(30 cm), 151 pp., illustrations (many in colour). Publisher’s pictorial wrappers. - Catalogue accompanying an exhibition on the evolution of colour printmaking, from the late medieval hand-coloured woodblock to the end of the 18th century. Among printmakers represented are Ugo da Carpi (c. 1480-after 1525), Hercules Segers (1589-1638), Jakob-Christoph Le Blon (1667-1741), and Jacques Fabien Gautier D’Agoty (c. 1716-1785). Reviewed in Print Quarterly, volume 13 (1996), pp.431-433. ¶ Excellent, unmarked copy.
(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.
Two volumes (24.5 cm), I: xxxi, 754 pp. II: v, 217 pp.  p. of plates. Publisher’s cloth bindings. - A new work extending the survey presented in Edward Hodnett’s English Woodcuts 1480-1535 (originally published 1935), listing more than 5000 woodcuts and engravings (excluding title-page borders, compartments, initials, single-sheet maps, and similar illustrative material). The authors list in an appendix post-1535 uses of earlier woodcuts and provide additions and corrections to the last (1975) edition of Hodnett. “The work is, of course, a must for the reference collections of all college and university libraries, as well as other research libraries. It is also a treasure for any individual working in sixteenth-century history, its ideological structures, and its iconography. Like the several short-title catalogues which have emerged during the past three-quarters of a century, this guide will join the ranks of indispensable reference works.” (from a review by James Tanis, in The Sixteenth Century Journal, volume 31, 2000, pp.865-866). ¶ As new.