{"title":"Prints, Drawings \u0026 Paintings","description":"","products":[{"product_id":"dr-syntax","title":"Dr Syntax","description":"A set of four charming watercolours (each 113x195mm) taken from Rowlandson's Dr Syntax series. \"Dr Syntax losing his way\". \"Dr Syntax copying the wit of the Window\". \"Rural Sports\". \"Dr Syntax disputing his bill with the landlady\". Mounted on cream card but unframed.","brand":"Four watercolours after Thomas Rowlandson","offers":[{"title":"Default Title","offer_id":26795819653,"sku":"2797","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Syntax_homepage.jpg?v=1490798581"},{"product_id":"confession","title":"Confession","description":"\u003cp\u003eParis: Gabriel Aubert. 1830-1835.\u003cbr\u003e\u003cbr\u003eLithograph with hand colouring (255x190mm). Artist unknown. The image, from the satirical journal \"La Caricature\" shows a young woman and an old woman (possibly a nun) both kneeling outside a confession box. The door of the box opens to reveal a priest eagerly listening to the sins of the young woman which are, one presumes, somewhat juicier than those of the devout vieille dame at her prie dieu. These prints containing a door or window which opens to reveal a visual joke not anticipated by the principal image are a feature of \"La Caricature\". Mounted on white card but unframed.\u003c\/p\u003e\n\u003cp\u003e'La Caricature', the satirical journal founded by Charles Philipon and published from 1830-35. It began, after the lifting of strict censorship at the July Revolution of 1830. It started as a largely non political magazine and this charming and amusing print is in that fairly gentle tradition. but adopted a more political tone after 1832 when it began its attack on Louis Philippe (famously portraying him as a pear). The journal was often shut down and it was forced to cease publication in 1835 following government legislation. Philipon himself was sent to prison. Distribution of the journal was undertaken by Philipon’s brother in law Gabriel Aubert.  \u003c\/p\u003e","brand":"La Caricature","offers":[{"title":"Default Title","offer_id":26854475269,"sku":"2800","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Confession.jpg?v=1490885177"},{"product_id":"le-voici","title":"Le voici","description":"\u003cp\u003eParis: Gabriel Aubert. 1830-1835.\u003cbr\u003e\u003cbr\u003eLithograph with hand colouring (255x190mm) by A. Menut. The image, from the satirical journal \"La Caricature\" shows a young woman at her dressing table looking towards the window with a closed curtain across it. The curtain opens to reveal a young man climbing in through the window. A rather naughty looking cat gives us, the viewer, a knowing look. These prints containing a door or window which opens to reveal a visual joke not anticipated by the principal image are a feature of \"La Caricature\". Mounted on white card but unframed.\u003c\/p\u003e\n\u003cp\u003eMarie-Alexandre Alophe, 'Menut Alophe' was a nineteenth century French painter and lithographer. He studied painting and print making techniques in Paris under Paul Delaroche and Camille Roqueplan. His first lithograph was published around 1830, and after that date he was a frequent contributor to such journals as Revue des Peintres, L'Artiste and La Caricature. He continued to work as both an artist and illustrator until 1854. After that date, Marie-Alexandre Alophe founded and managed one of Paris's most influential photographic studios.\u003c\/p\u003e\n\u003cp\u003e'La Caricature', the satirical journal founded by Charles Philipon and published from 1830-35. It began, after the lifting of strict censorship at the July Revolution of 1830. It started as a largely non political magazine and this charming and amusing print is in that fairly gentle tradition. but adopted a more political tone after 1832 when it began its attack on Louis Philippe (famously portraying him as a pear). The journal was often shut down and it was forced to cease publication in 1835 following government legislation. Philipon himself was sent to prison. Distribution of the journal was undertaken by Philipon’s brother in law Gabriel Aubert  \u003c\/p\u003e","brand":"La Caricature (A. Menut)","offers":[{"title":"Default Title","offer_id":26854475333,"sku":"2801","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Windo.jpg?v=1490885018"},{"product_id":"on-ne-peut-pas-vous-donner","title":"On ne peut pas vous donner!","description":"\u003cp\u003eParis: Gabriel Aubert. 1830-1835.\u003cbr\u003e\u003cbr\u003eLithograph with hand colouring (255x190mm) by Eugene Forest. The image, from the satirical journal \"La Caricature\" shows a young woman with a roast bird on a plate about to open a door. A poor man is holding out his hand asking for food. She is clearly saying \"On ne peut pas vous donner\". The door opens to reveal a red-faced, rotund old woman sitting half asleep at a table with an open bottle of wine next to her. These prints containing a door or window which opens to reveal a visual joke (in this case a mild satirical dig at the rich and greedy) not anticipated by the principal image are a feature of \"La Caricature\". Mounted on white card but unframed.\u003c\/p\u003e\n\u003cp\u003e'La Caricature', the satirical journal founded by Charles Philipon and published from 1830-35. It began, after the lifting of strict censorship at the July Revolution of 1830. It started as a largely non political magazine and this charming and amusing print is in that fairly gentle tradition. but adopted a more political tone after 1832 when it began its attack on Louis Philippe (famously portraying him as a pear). The journal was often shut down and it was forced to cease publication in 1835 following government legislation. Philipon himself was sent to prison. Distribution of the journal was undertaken by Philipon’s brother in law Gabriel Aubert.  \u003c\/p\u003e","brand":"La Caricature (E. Forest)","offers":[{"title":"Default Title","offer_id":26854475461,"sku":"2802","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/On_ne_peut_pas_2.jpg?v=1490885394"},{"product_id":"chez-qui-demandez-vous","title":"Chez qui demandez vous?","description":"\u003cp\u003eParis: Gabriel Aubert. 1830-1835.\u003cbr\u003e\u003cbr\u003eLithograph with hand colouring (255x190mm) by Eugene Forest. The image, from the satirical journal \"La Caricature\" shows a a closed door the upper half of which is glazed and behind which sits a sleeping man. The sign above the door reads \"Parle z'o consierje SVP\". The window opens to reveal the said concierge as a rude and angry and ill-tempered individual meeting any request with \"Qui demandez vous?\" Good to see the French hotels have changed little over the years. These prints containing a door or window which opens to reveal a visual joke (in this case a mild satirical dig at the rich and greedy) not anticipated by the principal image are a feature of \"La Caricature\". Mounted on white card but unframed.\u003c\/p\u003e\n\u003cp\u003e'La Caricature', the satirical journal founded by Charles Philipon and published from 1830-35. It began, after the lifting of strict censorship at the July Revolution of 1830. It started as a largely non political magazine and this charming and amusing print is in that fairly gentle tradition. but adopted a more political tone after 1832 when it began its attack on Louis Philippe (famously portraying him as a pear). The journal was often shut down and it was forced to cease publication in 1835 following government legislation. Philipon himself was sent to prison. Distribution of the journal was undertaken by Philipon’s brother in law Gabriel Aubert.\u003c\/p\u003e","brand":"La Caricature (E. Forest)","offers":[{"title":"Default Title","offer_id":26854475525,"sku":"2803","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Chez_qui_demandez_vous.jpg?v=1490885326"},{"product_id":"eh-mon-enfant-depuis-la-revolution-nous-sommes-comme-vous","title":"Eh! Mon enfant depuis la revolution nous sommes comme vous.","description":"Paris: Hautecoeur Martinet. 1830-1835.\u003cbr\u003e\u003cbr\u003eLithograph with hand colouring (255x190mm) by an unknown artist. Printed by Delaunois. The image, which might be from the satirical journal \"La Caricature\" although this is not clear, shows a young woman with two babies standing outside a priests' house. A priest has come to answer the door and she is asking him for charity. He is saying that since the revolution priest are like her (i.e. short of money). The doors open to reveal five priests drinking and cavorting. This print is typical of those which features in \"La Caricature\" and which showed a door or window which opens to reveal a visual joke (in this case a satirical anti-clerical dig) not anticipated by the principal image. Mounted on white card but unframed.","brand":"Anon","offers":[{"title":"Default Title","offer_id":26854475589,"sku":"2804","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Mon_enfant.jpg?v=1490885596"},{"product_id":"confessions-of-an-opium-eater","title":"Confessions of an Opium Eater","description":"Film poster for Albert Zugsmith's 1962 Confessions of an Opium Eater, starring Vincent Price. 340x280mm. Mounted on white card but unframed. Excellent condition. Shows Price with an opium pipe out of which Linda Ho appears screaming in a stream of smoke. In the main image three floating figures have clearly taken the advice of the poster to \"Take one daring step beyond the threshold of your own imagination\".","brand":"ANON","offers":[{"title":"Default Title","offer_id":26948379653,"sku":"2806","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Opium.jpg?v=1490974893"},{"product_id":"mary-jane","title":"Mary Jane","description":"Film poster for Maury Dexter's 1968 film \"Mary Jane\" which sets out to expose the \"shocking facts behind the marijuana controversy\". Two moody boys look into each other's eyes while one rests his hand on the other's shoulder. A girl in round dark glasses dances in that \"groovy\" late sixties style. Perhaps her name is Mary Jane. It is all very strange.","brand":"ANON","offers":[{"title":"Default Title","offer_id":26948379717,"sku":"2807","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Mary_Jane.jpg?v=1490975151"},{"product_id":"recordings","title":"Recordings","description":"\u003cp\u003eBaden, Switzerland: Kodoji Press. 2007.\u003cbr\u003e\u003cbr\u003eLimited edition, number 15 of 20 with an original signed and numbered print: \"New Graffiti #2 (CHURCHYARD) 2005\". Book: 385x275mm. Unpaginated. Signed by Nanna Hänninen. Bound in grey and black linen over boards, lettering stamped in black to upper cover. Thirteen double-page reproductions of a series of digital c-prints on diasec. Short essay by Urs Stahel in English and German. Biography of Nanna Hänninen. Book is housed in a grey card slipcase with white label printed in black. Book and slipcase are in excellent, fine condition. The print (500x395mm) is housed in a black board portfolio case lettered in white with a black ribbon tie. Some slight marking to the case but the print is pristine.\u003c\/p\u003e\n\u003cp\u003eRecordings is one of two artists’ monographs published by Nanna Hänninen (the other being “Fear and Security”). Her work, which is principally photographic draws on 20th century abstract art but it is also rooted in the cold, open spaces of her native Finland. Her early work was, according to Staher, “predominantly introspective”. Recordings, on the face of it, represents a move by Hänninen towards the exterior for these are ostensibly landscapes; but so abstract and ethereal are they that the sense of objective place is captured only in the titles of the works. These moving and eerie works are the record of an interior response to the exterior landscape.  \u003c\/p\u003e","brand":"HÄNNINEN, Nanna","offers":[{"title":"Default Title","offer_id":5017807585309,"sku":"3002","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3002_2.jpg?v=1512669567"},{"product_id":"photograph-of-charlie-chaplin-and-harry-lauder-and-an-archive-of-letters","title":"Photograph of Charlie Chaplin and Harry Lauder and an archive of letters","description":"c1918.\u003cbr\u003e\u003cbr\u003eBlack and white photograph (238x189mm) of Charlie Chaplin and Harry Lauder signed by both of them. Light creasing and some rubbing. Chaplin and Lauder were the leading comic performers of their day. They only appeared together in one short 1918 film (which is probably when this photograph was taken). Signed photographs of the two together seem to be extremely rare and we have been unable to trace another one. \u003cbr\u003eSold with this photograph is another photograph of Lauder inscribed by him to \"Margo\" and a postcard with a printed sketch of Lauder. There are also two letters and a legal settlement between Lauder and a Mabel Jarman (from whom this photograph and accompanying documents came) in which she agreed to hand over a number of letters for £780.","brand":"ANONYMOUS","offers":[{"title":"Default Title","offer_id":42886945571007,"sku":"4190","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/4190.Chaplin_1.jpg?v=1709217864"},{"product_id":"a-ruskin-single-handed-vase-decorated-with-a-high-fired-sang-de-ba-uf-glaze","title":"A Ruskin single-handed vase decorated with a high fired sang-de-bœuf glaze","description":"West Smethwick . 1933.\u003cbr\u003e\u003cbr\u003eA Ruskin single-handed vase with a wide-flared neck decorated with a high fired sang-de-bœuf and mottled green and white glaze with specks of green and black. 200mm high, 115mm wide at opening. Base is marked \"Ruskin. 1933. England\". A beautiful example of the distinctive Ruskin High Fired Flambé process in one of the most striking colours used by the pottery. \u003cbr\u003eAs William Howson Taylor explained in his 1912 booklet on Ruskin Pottery (see previous item), the aims of the Pottery were \"good potting, beauty of form, and rich or tender colouring\". \"The colourings range from slightly broken colours, through gradations of two colours to textures and patternings rivalling cloisonné enamels and suggestive of the rich hues seen in rock pools at low tide\". He describes the \"real Flambé colours, each piece being unique and unrepeatable. The colourings, textures and patternings of this real Flambé are as varied as is the number of individual pieces, and they include sang de bœuf, peach bloom, crushed strawberry...\". Copper oxides were mixed into the glazes which were then fired at between 1300 and 1600 degrees centigrade using the technique of reduction firing in which the amount of oxygen in the kiln is slowly reduced. The results were stunning. As Howson Taylor says: \"the Ruskin Flambé have been submitted to the great heat of the potter's furnace which gives the full interpenetrative and palpitating colour effects - changes from splendour to splendour\".","brand":"RUSKIN POTTERY","offers":[{"title":"Default Title","offer_id":43105344192703,"sku":"4161","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/Ruskinpot_2__inPixio.jpg?v=1713201161"},{"product_id":"souvenir-handkerchief-of-the-provincial-unemployed-demonstration","title":"Souvenir Handkerchief of The Provincial Unemployed Demonstration","description":"\u003cp\u003eLondon: Burgess William \u0026amp; Co. early 20th century.\u003cbr\u003e\u003cbr\u003eSouvenir Japanese crêpe paper handkerchief with an outer border of purple pansy-type flowers and green foliage. In the centre is a picture (signed W. B [?] 84) of a poor mother with two young children. Above this is printed \"Souvenir Programme of The Provincial Unemployed Demonstration\" and either side of the picture are the texts \"The profit of the earth is for all Eccles v.9\" and \"Labour is the source of all wealth\". Below the picture are the details of the demonstration. It was to gather on the Embankment and then march through smart Mayfair ending in Hyde Park. The handkerchief notes that \"there will be large contingents from Hackney, Bethnal Green, Battersea and St Pancras. The Liverpool Unemployed will join the procession\". The Chairmen are listed as Mr H. Quelch, Mr H. Gosling L.C.C. and Mr Jack Williams. The handkerchief measures 365x355mm. Some chips and tears to the edges but otherwise in excellent condition. \u003cbr\u003eAlthough this handkerchief is undated, it is almost certainly from the first decade of the twentieth century which was the heyday of these crêpe souvenirs produced by Mrs S. Burgess. They were printed for a huge range of occasions such as Royal and national commemorations, sporting events and the deaths of famous people. There was also a popular line in Suffragette handkerchiefs but this one, to mark a demonstration about unemployment, is a surprisingly radical departure. One wonders what Mrs Burgess and her genteel handkerchief artists would have made of Harry Quelch, the principal organiser of the demonstration. He was one of Britain's first self-declared Marxists and a leading member of the Democratic Federation which was the forerunner of the Social Democratic Federation, the country's earliest socialist political party. Quelch was active as a trade unionist organiser of strikes and marches; he travelled extensively in Europe speaking at socialist conferences; and he printed Lenin's newspaper \u003cem\u003eIskra\u003c\/em\u003e when it was banned in Russia. Lenin was impressed. On Quelch's death he wrote: \"Quelch was in the front ranks of those who fought steadfastly and with conviction against opportunism and a liberal-labour policy in the British working class movement.... Over the whole of Britain the Social-Democrats, and they alone, have for decades been carrying on systematic propaganda and agitation in the Marxist spirit. This is the great historical service rendered by Quelch and his comrades\".\u003c\/p\u003e","brand":"Burgess William \u0026 Co.","offers":[{"title":"Default Title","offer_id":55124576174457,"sku":"4400","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/P1030743.jpg?v=1748878717"},{"product_id":"stories-and-drawings","title":"Stories and drawings","description":"\u003cp\u003en.p. . n.d. [1937].\u003c\/p\u003e\n\u003cp\u003eA collection of typescripts of thirteen short stories by Lise Deharme with five signed drawings by Jean Cocteau. Some of the stories are drafts with manuscript or typed amendments and some in fair copy. Each story, with its illustration, is loosely inserted into a card folder. Also present is the original pink file which contained the stories and drawings. On the cover of this is inscribed, in De harme’s hand: “Lise Deharme, 146 rue de Grenelle, Paris VII. Quleque dessins de Cocteau”. All housed in a custom made box with paper label to spine. Given their brevity and simplicity, their subject matter and the nature of the drawings, these stories were clearly intended for young children - she had two of her own, Tristan and Hyacinthe. We have found no evidence of these stories and drawings being published. None of them is dated but we would tentatively suggest a date in the late 1930s or early 1940s. Deharme and Cocteau were corresponding regularly at this time and Deharme was working on a book of children’s poems with photographs by Claude Cahun - published in 1937 as Le Coeur de Pic. Clearly Deharme was planning another book for children, this time of stories and with drawings by another leading figure of the surrealist movement, Jean Cocteau. \u003c\/p\u003e\n\u003cp\u003e1. Muscade. La Petite Fille aux dix doigts. Single leaf with title in manuscript, three typed leaves (recto only) and then a further two leaves with the story retyped (leaves 270x210mm). Two drawings by Cocteau, one in pencil on tracing paper (signed “Jean”) and the other, in purple crayon on heavier drawing paper (420x280mm, folded). On the verso of the larger drawing is written “Pour Lise, Jean”.\u003cbr\u003e2.  La véritable histoire du Petit Chaperon Rouge. Single leaf with title in manuscript. Two leaves with the story typed and the title in manuscript and one amendment in blue biro. Two further copies of the story typed. Drawing by Cocteau, signed “Jean”. Fraying to left edge of the drawing. \u003cbr\u003e3. Le Nouveau Narcisse. Single leaf with title in manuscript. Two leaves with the story in typescript and two amendments in pencil.  Drawing by Cocteau, signed “Jean”.\u003cbr\u003e4. Le Vent. Single leaf with title in manuscript. Two leaves with the story in typescript and two amendments. Fair copy of the typescript on a single leaf. Drawing by Cocteau, signed “Jean”.\u003cbr\u003e5. Couleur de rose. Single leaf with title in manuscript. Four leaves with the story in typescript and two amendments in blue ink. Fair copy of the typescript on four leaves.\u003cbr\u003e6. La Chemise. Two leaves with the story in typescript.\u003cbr\u003e7. La Belle Vie. Seven leaves with the story in typescript and numerous amendments in pencil. \u003cbr\u003e8. Il etait une fois.... Two leaves with the story in typescript and three amendments in pencil. Fair copy of the typescript on a single leaf. \u003cbr\u003e9. Le Prince Feroce. Two leaves with the story in typescript. \u003cbr\u003e10. Chansons du Soir. Two leaves with the story in typescript.\u003cbr\u003e11. Histoire de Jules. Two leaves with the story in typescript and numerous amendments in blue ink.\u003cbr\u003e12. La Porte Ouverte. Two leaves with the story in typescript.\u003cbr\u003e13. Histoire de la petite Laurence. Two leaves with the story in typescript and five amendments in ink and type.\u003cbr\u003e\u003c\/p\u003e","brand":"COCTEAU, Jean and Lise Deharme","offers":[{"title":"Default Title","offer_id":55124576862585,"sku":"4425","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/P1030665.jpg?v=1748880112"},{"product_id":"homo-sapiens-correctus","title":"Homo Sapiens Correctus","description":"\u003cp\u003eAmsterdam: n.p.. [1964].\u003cbr\u003e\u003cbr\u003ePaper scroll (2760x430mm) with a facsimile (translated into English) of Huges's manifesto, written while in prison, for an expanded consciousness achieved through the control of blood to the brain. which gives the work its alternative name: The Mechanism of BrainBloodVolume (BBV). The original manuscript of Homo Sapiens Correctus was written in Dutch in 1962. In 1964, a facsimile was issued in both Dutch and in an English translation. The text, which is organised in nine sections (with titles such as \"Chemical\", \"Osmotical\", \"Brain Metabolism\" is arranged around ten coloured diagrams showing how blood is distributed between the brain and the heart. Apart from the occasional chip and a few closed tears, this copy is in very good condition, with the illustrations especially clean and fresh. At the foot of the scroll is written: \"Amsterdam, Bart Huges. Made in prison. Copy rights fl.100.000,-\". Institutionally rare, OCLC records only four cop ies of the version in English. And of those sold at auction in the last twenty years, all but one have been in Dutch and it seems that the English version is considerably more scarce. \u003cbr\u003eHuges is probably the most celebrated enthusiast for trepanation, a procedure which he performed on himself on 6th January 1965 using a dentist's drill. Huges's auto-surgery was a long time in the planning. As a medical student in the late 1950s and early 1960s he developed the idea that as humans walk upright, blood drains out of the brain. Furthermore as we move from childhood to adulthood, our cranial sutures close, cutting down the flow of blood to the brain. Huges started to work on ways of recovering our childlike state. Drugs were a significant part of his method - he was an enthusiastic user of marijuana (his daughter was called Maria Juana) and LSD - and it was while on mescaline that he first understood how trepanation might work to reduce the volume of cerebrospinal fluid in the brain thus increasing the volume of brainblood. Homo Sapiens Correctus explores a number of alternatives to drilling a hole in his head (\"Physical\", \"Brain Metabolism\", \"Psychovitamins\") which is just as well as it is a spectacularly gruesome procedure. But there is no doubt that Huges's principal contribution to the expansion of consciousness and the returning of our minds to their childlike states lies in his evangelical adoption of trepanation. Huges (who was still a medical student at the time) has said that he wrote this scroll to educate doctors about the benefits of the procedure. \"I visited about twenty professors, of psychiatry, anthropology, neuro-anatomy etc. and their reactions were without exception negative\". So, not a success medically, but this extraordinary scroll has secured its place as a key work of the 1960s counterculture.\u003c\/p\u003e","brand":"HUGES, Hugo Bart","offers":[{"title":"Default Title","offer_id":55124580827513,"sku":"4512","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/71.Trepanning.jpg?v=1748863836"},{"product_id":"photograph-album","title":"Photograph album","description":"\u003cp\u003eLondon. 1866.\u003cbr\u003e\u003cbr\u003eA photograph album containing thirteen heavy card leaves into which are inserted (on each side of the leaf) four small 'carte de visite' photographs. There is a total of 104 photographs. Leaves measure 282x200mm and the photographs in their frames 84x50mm. On a blank preliminary is written in coloured ink with gold highlights: \"Presented to Mr B.B.Toussaint by the Teachers \u0026amp; Friends of Holloway Ragged Schools with much esteem \u0026amp; regret at parting. Nov 1866\". In a heavy green morocco binding decorated with relief patterns, with brass clasps. All edges gilt. Silk endpapers. Some rubbing to extremities and some marks to the boards but overall in very good condition. \u003cbr\u003eA rather wonderful period piece. The Holloway Ragged School was established in 1846 and continued to educate the most deprived children of the community until 1872. Mr Toussaint remains a mystery although we think he may have been the headmaster of the school. Ragged Schools were a popular cause among the wealthy and well-connected which is certainly how the subjects of these photographs appear. Accordingly, we think that they are almost certainly of patrons and supporters of the school although perhaps some of the teachers are present. There is a photograph of Gladstone who may have been involved in the school although we can find no evidence. There is certainly room for photographic research to identify the portraits. This splendid album is a fascinating testament to a web of patronage that helped some of London poorest children.\u003c\/p\u003e","brand":"HOLLOWAY RAGGED SCHOOLS","offers":[{"title":"Default Title","offer_id":55291527790969,"sku":"4567","price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/4567.Raggedschool_3.jpg?v=1749128262"},{"product_id":"a-photograph-of-borges-and-sabato-from-the-year-of-their-reconciliation-inscribed-by-sabato-in-1998","title":"A photograph of Borges and Sabato from the year of their reconciliation. Inscribed by Sabato in 1998","description":"\u003cp\u003eBuenos Aries: Editorial Atlantida. 1975.\u003cbr\u003e\u003cbr\u003eSilver gelatin photograph. 180x240mm. Taken using a fish-eye lens, it shows Borges and Sabato sitting together talking over a cup of coffee in a café. On the verso is the photographer's stamp from the magazine Editorial Atlantida. It has also been inscribed by Sabato \"Para Juan contodo mui afecto. E. Sabato. 15 de Mayo de 1998\". Protected by a transparent plastic envelope and housed in a heavy card folder covered with marbled paper. \u003cbr\u003eThe twentieth century was a golden one for South American literature and two of its towering figures were Jorge Luis Borges and Ernesto Sabato. But their relationship was not an easy one. Sabato, the younger man by twelve years, felt that he was in Borges's shadow. It was once mentioned to Borges that Sabato was being promoted by a publisher as \"the rival of Borges\". Borges replied that no-one had ever described him as \"the rival of Sabato\". There were, however, deeper intellectual and political differences between the two writers. The immediate catalyst for the breakdown of their friendship was the 1955 revolution which overthrew Peron's government. Borges supported the coup while Sabato publicly defended Peron and his supporters which included many leading cultural figures. Their differences were also reflected in their respective understanding of the links between high art and mass culture. Sabato was an unashamed elitist in the Modernist mould of Eliot and Pound and felt that Borges work engaged too readily with quotidian common culture. These clashes led to a twenty-year rift which was healed in a famous public meeting in 1975. Their subsequent conversations were collected in \"Dialogos\" which was issued with photographs of the two men in a café. This striking photograph – with its all-seeing eye suggesting the act of eaves-dropping - is from that set of photographs commissioned by the leading cultural and literary magazine Editorial Atlantida. A moving record of a complex relationship.\u003c\/p\u003e","brand":"BORGES, Jorge Luis and Ernesto Sabato","offers":[{"title":"Default Title","offer_id":55291527954809,"sku":"4573","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/4573_1.jpg?v=1749123317"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/collections\/prints-artwork.jpg?v=1776278547","url":"https:\/\/voewoodrarebooks.com\/collections\/prints-artwork.oembed","provider":"Voewood Rare Books","version":"1.0","type":"link"}