Art, Architecture & Photography

NICERON, Jean-François. La perspective curieuse du reverend P. Niceron. Minime divisee en quatre livres. Loptique et la catoptrique du R. P. Mersenne du meseme ordre, mise en lumiere aprés la mort de lautheur. Oeuvre tres-utile aux peintres, architects, sculpteurs graveurs, & à tous autres qui se meslent du dessein.
Paris, Jean du Puis, 1663.
Including: MERSENNE, Marin. L'optique et la catoptrique du reverend Pere Mersenne minime. Novvellement mise en lumiere, aprés lar mort de lautheur. Paris, the widow of F. Langlois, 1651.
2 works in 1 volume. Folio. With a (partially) folded full page engraved portrait of the author as a frontispiece, an engraved title-page, a large woodcut vignette on the title-page, 50 full page engraved plates (including 1 folding), all numbered in a decorative banner in the plate.Contemporary or near contemporary (late 17th or early 18th century) brown calf. [1], [1 blank], [1], [1 blank], [8], 191, [1]; [1], [1 blank], [10], 134, [2 blank] pp. Full description

NOMSZ, Johannes. [A choice collection of 6 original plays written by Johannes Nomsz and 10 plays of French playwrights - Racine, Corneille, Voltaire and others - together with other texts highly interesting for the history of the Amsterdam stage, and Nomszs historical work on the life of Mohammed in 2 volumes].
Amsterdam, Izaak Duim, Johannes Smit, David Klippink, widow of David Klippink, Hendrik Gartman, Johannes Smit, heirs of David Klippink, 1764-1780. 16 plays, 3 essays and 1 biography bound in 11 volumes. 8vo. With two portraits of Nomsz by Reinier Vinkeles (vol. I) and J. Houbraken (vol. IX), a portrait of Mohammed by J. Houbraken (vol. I) and 14 frontispieces by the best engravers of the time: Jan Punt, Reinier Vinkeles, Simon Fokke, P. Tanjé and Th. Koning. Uniform contemporary vellum with a blind-tooled centrepiece and cornerpieces on each board, manuscript titles on spines. [8], 76; [8], 64; [8], 56; 14; 62; [8], 54; 12, [74]; [4], 54; [12], 74; [6], 71; [8], 71; [6], 58; [12], 78; [6], 112; [8], 82, [2]; 35; [4], 88, [2]; 43; [10], 113; [10], 67; [12], 73, [2]; XXVI, 182; [4], 190 pp. Full description

[NORTHWEST PASSAGE - PAINTING]. [The ships Erebus and Terror in the Arctic].
[England?, ca. 1850?]. Oil painting on canvas (65.5 x 91 cm), showing 2 ships in a rough sea amid dangerous rocks and ice. Later mounted on another canvas and stretched over a wooden frame, with a handwritten note about the painting pasted on the back. Full description

[VIEW - JAPAN]. OCHIAI Yoshiiku (UTAGAWA Yoshiiku). Kiyoko zuga [= Representation of Nagasaki harbour].
[Nagasaki, ca. 1880?]. A large watercolour painting of Nagasaki harbour (image size: 49.5 x 87.5 cm), probably on mulberry bark paper, with one large Asian ship, more than a dozen small Asian boats, and a steam boat in the background, all rendered following Western conventions of perspective. In a passe-partout in a modern wooden frame painted gold (95 x 125 cm), behind glass. Full description

OGAWA Kazamusa. Famous castles & temples in Japan.
Tokio, [Kazamusa Ogawa?], (colophon in Japanese: Meiji 28 = 1895). Oblong (27 x 36.5 cm). With 35 hand-coloured collotypes, with captions. Slightly later black, gold-tooled morocco, with initials C.R. at the foot of the spine. 36 ll. Full description

ONGANIA, Ferdinando (ed.). Calli e canali e isole della laguna [frontispiece: "Calli et canali in Venezia"].
Venice, Tipografia Emiliana, 1894-1895. Imperial folio (ca. 55 x 37 cm). With a lithographed frontispiece showing a gondola in a Venice canal and 100 colletypes of the Venice canals, streets and buildings, mounted on guards and covered with flyleaves, index printed in red and black. Original publishers half brown sheepskin, beige cloth sides with blind-tooled frame on the front and back board and with a centrepiece with a boat in the lagoon of Venice and the gold-stamped title and author's name on the front board. [6] including the frontispiece, plus 100 collotypes. Full description

OS, Georgius Jacobus Johannes. [Flowers and fruits on a marble plinth].
[Paris or Holland], [ca. 1815-1825]. Four watercolour drawings on paper, three signed "G.J.J Van Os", edged with a thin black border. [4] ll. Full description

OTTO VAN PASSAU. Boeck des gulden throene of der xxiiij ouden.
Utrecht, [printer with monogram "tC"], [30 March] 1480. Folio. With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large manuscript initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross. Contemporary (Utrecht?) blind-tooled calf over wooden boards, each board in a panel design with the central part ruled in a lozenge pattern with about 200 impressions of 4 small separate stamps; re-backed, with modern morocco title label. [4], 197 ll. Full description

OTTO VON PASSAU. Boec des gulden throe[n]s of der xxiiij. ouden en[de] hoemen elke[n] vinden mach en[de] va[n] hoerre leringhen die si leren om te comen totten ewighen leven.
(colophon: Haarlem, [Jacob Bellaert], 25 October 1484). Folio (29 x 21.5 cm). With large woodcut printer's device (142 x 82 mm) on verso of last leaf (with the arms of the city of Haarlem above an eagle holding a larger blank shield, here filled in by a contemporary owner); 4 woodcut illustrations and 20 repeats, representing the 24 elders, each showing one of the male elders, standing, teaching a female novice kneeling before him. Further with spaces left for initials, all filled in with uncials by hand, about 25 with penwork decoration in 1 or 2 additional colours: 1 blue 6-line initial with decorations in red and violate extending far into the margin, about 24 red 3 to 9-line (mostly 7-line) initials with lavendar penwork (1 with 2 green dots), some extending into the margin, and more than 70 2-line red initials without penwork decoration; a few spaces left for ¶-marks, also filled in in red; capitals rubricated throughout. Set entirely in Baellart's textura (99 or 100 mm/20 lines or about 14.5 point). Lacking leaf 137 (the second to last text leaf) and the final blank. Modern sheepskin. [1 blank, 3], "136" [= 135 (of 136)], [1] ll. Full description

OVIDIUS NASO, Publius (OVID). Den metamorphosis ofte herscheppinghe ... In onse Nederduytsche tale overgeset ende met figuren verciert elck tot sijnder historien dienende. Seer nut voor alle schilders, beeltsnijders, goutsmeden, ende liefhebbers der historien.
Rotterdam, Pieter van Waesberge, [1635]. 8vo. With engraved title-page, a full-page woodcut depicting the Creation in 6 small scenes, and 178 nearly half-page woodcuts in text after Virgil Solis. Contemporary vellum. Engr. t.-p. plus 425, [3 blank] pp. Full description