F L Schmied or Francois Louis Schmied, Signed (33 results)

Schmied, Francois-Louis (illustrator). First edition. One of a total edition of 177 copies, all on japon (this one of twenty for collaborators), signed by Schmied in the colophon. 13 x 10 inches, [32] leaves, (plus front and rear endpapers); 8 full-page color wood block illustrations, (including the cover) and 23 other designs. Original wrappers, fine condition, in publisher's blue cloth chemise and slipcase. In his book on Schmied, Mauro Nasti notes the incorporation in this volume of both Schmied's naturalistic style and abstract decorative motifs, and here the two styles seem to mesh in perfect harmony, producing the most beautiful of any of his work, and one of the most beautiful of any twentieth century book, with complex and integrated illustrations typography and decoration. The title page alone is "the most intricate of all Schmied's illustrations, requiring some forty-five different blocks to achieve the lacquer-like quality he wanted. And then it took almost two months to print that single page" (Ward Ritchie). The full-page illustrations of the scribe and the man carrying a book are Schmied's self-portraits.

Couverture rigide. - François-Louis Schmied, Paris 1924, 25x30,5cm, relié sous étui. - Édition imprimée à 140 exemplaires numérotés sur vélin et ornée de 50 compositions originales gravées sur bois en couleurs et rehaussées à l'argent et à l'or par François-Louis Schmied. Reliure en plein veau noir, dos lisse orné d'un carré mosaïqué de galuchat gris, frises de carrés dorés en tête et en queue du dos, premier plat décoré d'un listel vertical composé de pièces mosaïquées de galuchat, de liège, de peau serpent, d'écailles de saumon, titre doré en pied du premier plat et frise de carrés dorés en tête, répétition en miniature du listel du premier plat en pied du second, répétition surmontée de la mention dorée : "F.L. Schmied 1924", couvertures et dos conservés, contreplats de papier doré, gardes d'agneau gris, tête dorée, étui en plein cartonnage noir bordé de veau noir, élégante reliure signée de l'atelier Boichot dans le style Art Déco. Signature manuscrite de François-Louis Schmied à la justification du tirage. Superbe exemplaire habillé d'une élégante reliure Art Déco à décor de l'atelier Boichot. [ENGLISH TRANSLATION FOLLOWS] One of 140 numbered copies on laid paper and decorated with 50 original woodcuts by François-Louis Schmied in color enhanced with silver and gold. Full black calf binding, smooth spine inlaid with gray stingray leather, friezes of gilt squares at head and foot of the spine, upper board decorated with a vertical listel with inlays of stingray leather, cork, snake skin, salmon scales, gilt title at foot of the first cover and frieze of gilt squares at head, repetition in miniature of the listel on the upper board at the foot of the second board, with title in gilt: "F. L. Schmied 1924", covers and spine preserved, gilt paper pastedowns, gray lambskin endpapers, gilt top edge, housed in a full black cardboard case lined with black calf, elegant Art Deco style binding signed by the Boichot workshop. Autograph signature of François-Louis Schmied on the colophon. Superb copy handsomely bound in an elegant Art Deco binding by the Atelier Boichot.

Number 94 of 155 copies on Madagascar paper (of a total edition of 172) signed by the artist beneath the limitation ; 4to (35.5 x 28.5 cm); 12 double-page and 4 single-page colour wood engravings, two further suites of illustrations on japon paper, one in colour numbered 10, another in black and white numbered 9, signed by the artist; full brown crushed morocco with gilt ornament to covers and gilt lettering to spine, silk endpapers, contemporary card slipcase; front turn-in signed 'Trinckvel,' back turn-in - 'G. Camuset Doreur.'; contemporary card slipcase; upper panel detached. A pristine example of this beautiful edition, enriched with two additional suites of plates on fine papier japon. 'In the introductory note. Théo Schmied points out the natural happiness of the interconnection between his father's cultural tendencies and art of the book and the world of the Near East as it is filtered by the 'inspired' Mardrus translations. throwing light on the the two fundamental aesthetic coordinates we need in order to understand how the details are made subordinate by the elegant decorative unity expressed by the plates, that is, the purity of the Egyptian graphic art and the will of the Italian primitives. The layout shows either a text harmoniously arranged in respect of double and single plates of various size, or a text framed by rules forming a variety of geometrical patterns and decorated by bout de lgnes in sienna. The illustrations mainly show subdued and delicate pastel colours' (Nasti). Carteret Illustrés IV, p. 264; Buyssens, no 42; Nasti B15.

Condition: Near Fine. Signed Limited Edition. Copy number 13 of 162 numbered copies (from an edition of 172 total) signed by Francois-Louis Schmied. Folio. A beautiful and lavish production, with 28 wood engravings printed in colors, each one signed by the artist; signed by Schmied on the colophon, and with an additional presentation inscription from the artist on the blank front free endpaper. With an additional suite of plates printed in black, being numbered 8 and signed by Schmied on the section's title page, and with an additional suite of plates in color, also numbered 8 and signed on the section title page, and an additional suite of 20 pages showing the separation of the plates.Bound a beautiful art binding by the French master binder Madame Marot-Rodde in full golden morocco, inlaid with a tan morocco panel and white vertical and horizontal striped. Inside boards with yellow watered silk pastedowns, surrounded by gilt and white morocco inlay, housed in a yellow marbled slipcase with morocco tips. Near Fine with rubbing to outer hinges. A stunning copy.

Paperback. Condition: Fine. Dust Jacket Condition: near fine. First Edition. A fresh copy in the original wrapers, housed in the original plain blue chemise and slipcase (aged but no splits). There is faint bit of spotting to the wrapper, nearly invisible (see photo). The contents are completely fine and without even a hint of foxing, wear, or soiling. Loose in sheets as issued. Rare in sheets suitable for display. Easily one of the most beautiful books printed in the 20th century. One of 177 copies printed on Japon, signed by Schmied. "The title page illustration was the most intricate of all of Schmied's illustrations, requiring some forty-five different blocks to achieve the lacquer-like quality he wanted." Ritchie 35. A beautiful copy of a beautiful book.

Limited edition, one of 120 named examples on vélin teinté d'Arches printed for the members of the Lyon society, this example for Maurice Méric, 4to (25.5 x 20 cm); 54 illustrations in colour, drawn and engraved by Schmied (of which 26 are full-page); tan morocco binding, signed and dated 1998 by Honneger, with an abstract rectangle design to the covers, made up of red, green and brown morocco and yellow shagreen, with gilt lines, morocco doublures with gilt detail and cream suede guards, original wrappers bound in, in a morocco backed, brown suede lined, cloth clamshell box with gilt title to spine, an excellent copy. A wonderful edition of Paul Fort's Ballades françaises, which helped earn him the honorary French title of 'Prince of Poets'. The printer, painter and illustrator, Francois-Louis Schmied drew and engraved the charming illustrations to the text. Having rose to fame with his illustrations for Kipling's The Jungle Book in 1919, he produced luxurious books in very small editions for subscribers and bibliophiles. His strategy was to display sheets of his art work in progress at fairs and secure the interest of wealthy organisations and patrons before going to print. With financial backing and immense talent, he was able to become one of the most influential and active figures in Art Deco publishing and a master of the style.

Schmied, François-Louis (illustrator). Small folio, 14-1/16 in x 11-1/8. 76 pp. Illustrated with twelve double-page and four single-page colored wood engravings. One of 155 copies printed on Madagascar paper (plus 10 for collaborators, and 7 on japon). Nasti B15. Full red morocco, bound with the pages tipped to hinges, cover with a central design after motifs in the book, tooled in gilt on inlays of black and maroon morocco, dentelles tooled in gilt and with gilt corner onlays, gold and black silk moiré endsheets, edges rough-gilt, bound by Schmied, signed on the front turn-in "F.L.S." Chemise and new matching slipcase. Light marginal foxing, but in excellent condition.Schmied bound only books of his own creation, choosing above all the books of his great years.The subjects of his designs come from the books themselves" Ray, The Art Deco Book in France, pp. 101-102. "In the introductory note.Théo Schmied points out the natural happiness of the interconnection between his father's cultural tendencies and art of the book and the world of the Near East as it is filtered by the 'inspired' Mardrus translations.throwing light on the the two fundamental aesthetic coordinates we need in order to understand how the details are made subordinate by the elegant decorative unity expressed by the plates, that is, the purity of the Egyptian graphic art and the will of the Italian primitives. The layout shows either a text harmoniously arranged in respect of double and single plates of various size, or a text framed by rules forming a variety of geometrical patterns and decorated by bout de lignes in sienna. The illustrations mainly show subdued and delicate pastel colours" - Nasti.

Schmied, François-Louis (illustrator). First edition. 9-3/4 in. x 7-1/2 in.; 248 mm x 192 mm. (60) pp. Designed and illustrated by Schmied, engraved and printed by Philippe Gonin. Seven full-page woodcut illustrations; twelve smaller illustrations, initials and bandeaux. Original wrappers, in chemise and slipcase, slight tanning to the front wrapper, otherwise fine. Copy 4 of 175 copies, signed by Gonin, printed on Arches paper. This is from the tirage de tête of 25 copies which have an additional double suite of the llustrations (black and colored). Nasti B18; Ritchie 34.

Exquisite unpag. example of Art Deco book design, detailing a 3-month journey the artist undertook with Jean Dunand aboard the schooner Peau-Brune, sailing from St. Nazaire in Brittany, around the Iberian Peninsula and through the Strait of Gibraltar, to the town of La Ciotat on the coast of Provence, fashioned as a logbook with chronological entries related to specific dates, table of contents. Illustrated throughout with approximately 100 beautiful engravings in brilliant colors from various points along the trip, including two full-page plates depicting the ship under sail, both signed by Schmied. Large 4to. Full leather with raised spine, gilt and polychrome wave decoration to front and rear covers, gilt tooling to inside covers with laid blue silk "endpapers", fitted slipcase. Spine slightly shaken, first signature loose in places. N.p. (Lyon) (Société des XXX de Lyon) 1931. From a limited edition of 135 copies, signed by Schmied in several places. Schmied was an important Art Deco painter, illustrator, and bookbinder particularly known for his beautiful limited edition books. He first gained notoriety with his commission to engrave and print the illustrations of Paul Jouve for Rudyard Kipling's The Jungle Book in 1919. He went on to create several additional pioneering works of books design throughout the 1920s and 1930s, including Les Climats and Le Cantique des Cantiques. His volumes were always expensive to produce and printed in very limited editions, usually no more than 200 copies. He sold his books by bringing sheets of works in progress to Parisian art fairs, with the hopes of getting wealthy art and book collectors to buy a subscription. Once the Great Depression took hold, the economic climate could no longer support the cost of Schmied's books, and he was forced to close his workshop. A gorgeous feat of Art Deco book design; as of March 2016, WorldCat locates five holdings in North America.

Couverture rigide. - Gonin & Cie, Lausanne 1930, 19,5x25,5cm, relié. - Edition traduite des textes sémitiques par Joseph-Charles Mardrus et imprimée à 195 exemplaires numérotés sur Arches, le nôtre un des 20 hors commerce comportant une double suite en noir et en couleurs des illustrations. Reliure à la bradel en demi maroquin vert olive, dos lisse orné d'un jeu de carrés dorés de différents formats avec, pour l'un d'entre eux, une pièce de maroquin mosaïqué rosé en son centre, encadrement d'un filet doré sur les plats de papier façon peau de serpent, gardes et contreplats de papier vert olive, couvertures et dos conservés, tête dorée, élégante reliure signée Thomas Boichot. Ouvrage illustré de 31 gravures originales sur bois en couleurs par François-Louis Schmied, dont le frontispice, 6 à pleine page, 15 compositions dans le texte et 9 lettrines. Signature manuscrite de François-Louis Schmied en dessous de la justification du tirage. [ENGLISH TRANSLATION FOLLOWS] Le Livre des rois. L'Avènement de Salomon Gonin & Cie | Lausanne 1930 | 19.5 x 25.5 cm | Bradel binding Edition translated from Semitic texts by Joseph-Charles Mardrus. Issued with 195 numbered copies on Arches, ours is one of the 20 hors commerce copies comprising a double suite of illustrations in black and in colour. Half olive green morocco Bradel binding, spine decorated with a set of gilt squares of different sizes, one of them with an inlay of pink mosaic morocco in the centre, gilt fillet frame on the snake skin paper boards, olive green endpapers, covers and spine preserved, top edge gilt, elegant binding signed Thomas Boichot. Illustrated with 31 original wood engravings in color by François-Louis Schmied, including the frontispiece, 6 full-page, 15 compositions in the text and 9 ornamental initial letters. Autograph signature of François-Louis Schmied on the colophon.

318 x 241 mm. (12 1/2 x 9 1/2"). 8 p.l. (first four blank), 145 pp., [9] leaves (last four blank). Unbound as issued in original printed paper wrappers. With 14 full-page color wood engravings (including the frontispiece signed in pencil by Schmied) and 635 color panel borders, line fillers, and tailpieces in the Art Deco style, all by Schmied. Recto of limitations page with a facsimile inscription by the author to Schmied. Carteret IV, 263. â Short ink mark to margin of title page, just the faintest isolated smudge or freckled foxing, otherwise a very fine copy, clean and fresh, with the fragile wrapper unsoiled and remarkably well preserved. This is an excellent example of the impressive book arts productions of François-Louis Schmied (1873-1941), a man who raised Art Deco to its highest level in the field of bibliophilic publishing in France and someone who generally was responsible (as here) for every aspect of the production of his books. He engraved all of the woodcut decorations and plates for "Histoire," and printed them himself as well as designed the layout of the text, which was printed with the assistance of his son Théo and P. Guillemat. The text here is a love story set in the Middle East, the work of Dr. Joseph-Charles Mardrus (1868-1949), who described himself as "Muslim by birth and Parisian by accident." Born in Egypt and educated in Lebanon, the physician and eminent Orientalist was a fixture in the intellectual circles of Paris, where he helped to inspire the rage for all things Oriental. He produced a well-received, unexpurgated translation of "One Thousand and One Nights," and was commissioned by the French government to produce a translation of the Koran. He gives full credit to Schmied for the realization of the present work in his inscription, which reads: "Dear Schmied, it is to please you that this unpublished text has been developed. Without you, without your enthusiasm, it would still be in nothingness. Your friend, J. C. M.". FIRST EDITION. No. 50 OF 170 COPIES, SIGNED BY SCHMIED.

Lyon, Cercle Lyonnais du Livre, 1924. Un volume relié (22,5 x 30,5 cm) de 208 pages. Reliure plein maroquin caramel, dos à nerfs, caissons ornés de fleurons mauresques, plats décorés à la mauresque avec en son centre une mandorle dorée, contre plats en maroquin vert encadrés de trois frises à la mauresque dorés, double garde tissus et papier, toutes tranches dorées. Reliure signée de Ch. de Samblanx. Dos légèrement passé sinon bel exemplaire. Tirage unique à 152 exemplaires sur Japon impérial, celui-ci un des 12 exemplaires réservés au collaborateur. 53 compositions aquarellées du peintre André Suréda, interprétées et gravées sur bois par François-Louis Schmied. Peintre orientaliste, André Suréda (1872-1930) a trouvé ici l'interprète le plus habile pour restituer ses compositions, François-Louis Schmied. « Avec Marrakech, la réussite s'avère incontestable. La sourde richesse des bois en couleurs, dont certains semblent des peintures à pleine page et qui traduisent, avec bonheur, les tons et le pittoresque marocains, la belle et large typographie de Schmied, ses lettrines rehaussées d'or et d'argent, presque trop éclatantes, le beau Japon, support de ces précieux éléments, tout concourt à apparenter ce livre à quelques somptueux manuscrits persans. » (Henry Joly, Gutenberg-Jahrbuch, 1936, p. 200). F.-L. Schmied a ajouté en effet 17 grandes initiales dorées ou argentées. En outre, il a composé la typographie et exécuté l'impression sur ses presses à bras. (François-Louis Schmied, Cat. BPU, Genève, 2001, n° 22). Livres.

Schmied, François-Louis (illustrator). 11-1/8 in. x 7-1/2 in., 283 mm x 190 mm. (14), 8, (2), 340 pp. 14 full page plates. Arches paper. Half yellow morocco, original printed wrappers bound in, in fine condition. No. 36 of 175 copies, signed by Schmied. "The text is framed by horizontal brown rules [with] bout de lignes in brown and gold. Among the decorations, besides the full-page plates, we find 9 impressive ornaments (either circular or rectangular) at the end of most of the chapters" - Nasti B12; Ritchie 26.

Condition: Good. 4to. (25 x 32 cm.). Volume II only. Magnificent morocco binding designed by Schmied and executed by Poëncin: Kim in gold surrounded by a red lattice work of morocco bands onlaid onto the morocco binding, with morocco and mahogany paper chemise and slipcase. One of 30 copies with a second suite of the 20 color wood-engravings, all signed, together with a suite of the wood-engravings in black.Luc Monod, Manuel de l'amateur de livres illustrés modernes, no. 6539. .Lausanne, Gonin et Cie, 1930. Tome II, fort volume in-4(320 x 261 mm), 263 pp. Maroquin noir orné d'un décor de tramemosaïqué oblique de listels rouges couvrant les plats et le dos lisse,titre doré au premier plat, tranches dorées sur témoins, gardes demoire lie-de-vin, couverture et dos, sous chemise au dos titré en demimaroquinnoir à bandes et à recouvrement, étui bordé de maroquin noir(reliure signée É. Poëncin).Édition illustrée d'après François-Louis Schmied dont 13 plancheshors texte, 7 grandes vignettes, 7 lettrines et 3 culs-de-lampe, gravéspar Philippe Gonin.Tirage à 160 exemplaires sur japon, un des 30 comportant une doublesuite des gravures dont 20 en noir sur vélin et 20 en couleurs sur japon réalisées et signées par Schmied.Superbe réalisation d'Emile Poëncin de style Art Déco. Mr Poëcinétait alors le directeur de l'atelier de reliure de Mr Schmied.Uniquement le Tome II. L'un des derniers livres illustrés par François-Louis Schmied.Provenance : Collection Marcel Aubreton (1934-2019).

Lausanne, Aux dépens de M.M. GONIN ET Cie, libraires-éditeurs, 31 juillet 1928. Première édition de la traduction du Dr Mardrus, illustrée dans l'influence art déco par F.-L. Schmied de 42 compositions originales (dont 12 hors-texte) gravées sur bois en couleurs rehaussées d'or et d'argent, ainsi que 107 ornements typographiques tirés en bleu et orange, au fil du texte. F.-L. Schmied a conçu la maquette de cet ouvrage dont il a exécuté la gravure et le tirage sur ses presses avec le concours de ses élèves, fils Théo étant chef d'atelier. Il s'agit d'un tirage unique - ex 31/195 sur vélin d'Arches signé par l'artiste. Cet exemplaire, originellement en feuilles, est ici relié par Grégoire Levitzky* . Plein marocain cognac sobrement titré en tranche sous couvrure de même rappel, dos à quatre nerfs, toutes tranches dorées, contreplats magnifiquement décorés en marqueterie avec au centre la signature de l'artiste, dorures sur les champs et les coiffes, garde volante en soie, ensemble sous emboîtage. Exceptionnel ( photographies supplémentaires sur demande). Livraison Possible en main propre région Rhône-Alpes-Auvergne. Grégoire Levitzky (1885-1969), originaire d Ukraine et naturalisé français, a oeuvré pendant près de 50 ans, rue de l Odéon à Paris, et son travail talentueux fut d'avantage reconnu à l'étranger. Hormis les reliures conservées dans quelques rares institutions publiques, comme la Bibliothèque Nationale de France, la Bibliothèque Sainte-Geneviève ou la Bibliothèque Jacques Doucet à Paris, la plupart des oeuvres du relieur est dispersé dans des collections privées à des collections privées.

Lausanne, Gonin & Cie, 1930. 2 vol. in-folio, 267 pp. 16 pl. + 263 pp. 12 pl., chagrin écrasé noir signé Jamir, encadrement intérieur de même, doublé de basane jaune moutarde, dos à nerfs, auteur, titre et tomaison dorés sur deux pièces brunes, tête dorée, couverture conservée. Superbe édition illustrée par François-Louis Schmied, une traduction de Louis Fabulet et Ch. Foutaine-Walker. Un des 140 exemplaires, seul tirage, orné des gravures hors-texte en couleurs en deux états, dont un sur Japon. Les débuts de chapitres sont également ornés d'un bandeau (ainsi que de son état supplémentaire) et d'une lettrine également de Schmied. Chacune des illustrations est signée par Schmied sur la planche. Ce magnifique ouvrage, luxueusement illustré et relié, est la seconde illustration de Kipling par Schmied. En effet, en 1919, il présente sa version illustrée du Livre de la jungle. Cet auteur anglais dont les histoires se déroulent principalement dans l'Inde coloniale est un prétexte formidable pour les gravures art déco empreintes d'exotisme de Schmied. Des lignes géométriques, des couleurs vives parfois rehaussées de doré et ce goût pour la représentation d'un Orient lointain sont typiques de l'oeuvre de Schmied. Cet ouvrage est une telle réussite qu'il publiera deux ans plus tard, en 1932, une série de gravures supplémentaires sur le même texte. Un joyau du livre illustré Art déco. Voir photographie(s) / See picture(s) Livres.

Condition: Good. Sheets loose as issued in original embossed wrappers, burgundy buckram chemise and slipcase, printed paper label on spine; slight blemishes on the chemise. 25 x 35.5 cm. One of 100 signed and numbered copies; signed by F. L. Schmied. With 66 color wood-engravings by Schmied père et fils. This publication is generally considered Schmied's most ambitious undertaking, causing him financial problems which delayed it for several years. He exhibited some of the designs at the Galerie Petit in Paris, and eventually Henchoz agreed to finance the publication.In-folio, en feuilles, couverture rempliée, chemise et étui de l'éditeur.66 compositions de l'artiste gravées sur bois et imprimées par Théo Schmied. Les 20 compositions à pleine page portent la signature imprimée de François-Louis Schmied.Tirage à 106 exemplaires sur papier vélin, signés par l'artiste, celui-ci le n°24.Provenance : > Collection Marcel AubretonL'un des derniers livres illustrés par François-Louis SchmiedProvenance: Marcel Alfred Aubreton, born on August 9, 1899 in Sainte-Feyre, Creuse, Nouvelle-Aquitaine (France); died February 25, 1982 in Sainte-Feyre, Creuse, Nouvelle-Aquitaine.

Livre D'Artiste - Francois Louis Schmied's The Twelve Caesars SCHMIED, Francois-Louis, illustrator. Les Douze Césars. Traduction inédite de Joseph Estève. Préface de Louis Barthou de L'Académie Francaise. Paris: F.-L. Schmied, 1928. Limited to 175 copies printed on vélin d'Arches (this being no. 165) signed by F.L. Schmied. Large octavo (11 1/4 x 7 3/8 inches; 286 x 188 mm.). [viii], 1-[10], I-CCCXXVI, [viii] pp. Decorative title and section titles printed in gold, and twenty-three color illustrations by Schmied, comprised of nine vignette tailpieces, and fourteen full-page plates, including the twelve portraits. Small stain (5/16 x 5/16 inch) on lower margin of preface and first dedication leaf. Original printed wrappers and spine bound in, some light foxing to wrappers only. Near fine. Bound ca. 1928 by Phillipe Gonin (stamp-signed in gilt on front doublure) in full dark blue crushed levant morocco, smooth spine lettered in gilt, medium blue calf doublures, dark blue watered silk endleaves, top edge trimmed, others uncut. Joints expertly and almost invisibly repaired. A wonderful example of the highly appealing Schmied livre d'artiste version of Suetonius' classic biographies of the First Twelve Roman Emperors, originally written in 121 A.D. The Plates: Julius Caesar; Augustus; Tiberius; Caligula; Claudius; Nero; Galba; Otho; Vitellius; Vespasian; Titus & Domitian "In addition to engraved portraits of the Caesars, Schmied decorated the book with some elaborate designs in rules, printed in gold. One hundred and seventy-five copies were printed of which the first thirty copies contained suites of the illustrations in black and in color." (Ward Ritchie. Art Deco. The Books of Francois-Louis Schmied, p.32). Francois-Louis Schmied (1873-1941) was one of the most important, original, and active figures in the world of artists' books. He was born and studied in Geneva, moved to Paris at age 22 to make a living as a wood engraver, and joined the French Foreign Legion in his mid-40s, losing an eye in the Great War. It was after 1919 that Schmied began to focus primarily on the production of "editions de luxe," and in the mid-1920s, he and his eldest son Theo managed an atelier that issued a distinguished series of sumptuous works in very small editions, largely for members of elite French bibliophile societies. The Roman biographer Suetonius (69-after 122 AD) served for some years as a secretary to Hadrian, but he was dismissed for an indiscretion involving the emperor's wife, after which he retired from public life in order to devote himself to literature. He wrote a considerable number of biographies as well as works on antiquities, natural science, and even linguistics, but all that have survived are his "Lives of Famous Men" (in part) and the present "Lives of the Twelve Caesars." Our work contains biographies of the Roman rulers from Julius Caesar through Domitian, with formulaic descriptions of family history, public career, physical appearance, private life, and vices and virtues. The work is of great interest to us mainly because of its material relating to the emperors' often scandalous private lives, material to which Suetonius had access in the imperial archives, and material that would otherwise have been lost. De vita Caesarum, commonly known as The Twelve Caesars, is a set of twelve biographies of Julius Caesar and the first eleven emperors of the Roman Empire written by Gaius Suetonius Tranquillus. The work, written in AD 121 during the reign of the emperor Hadrian, was the most popular work of Suetonius, at that time Hadrian's personal secretary, and is the largest among his surviving writings. It was dedicated to a friend, the Praetorian prefect Gaius Septicius Clarus. The Twelve Caesars was considered very significant in antiquity and remains a primary source on Roman history. The book discusses the significant and critical period of the Principate from the end of the Republic to the reign of Domitian; comparisons are often made with Tacitus, whose surviving works document a similar period. Gaius Suetonius Tranquillus, commonly known as Suetonius (c. 69 - after 122 AD), was a Roman historian who wrote during the early Imperial era of the Roman Empire. His most important surviving work is a set of biographies of twelve successive Roman rulers, from Julius Caesar to Domitian, entitled De Vita Caesarum. Other works by Suetonius concern the daily life of Rome, politics, oratory, and the lives of famous writers, including poets, historians, and grammarians. A few of these books have partially survived, but many have been lost. Ritchie, 26.

Lausanne, Gonin 1930. 2 Bde. 4° (31 x 25,5 cm). 276 S., 1 Bl., 270 S., 1 Bl. mit 57 Farbholzschnitte (davon 15 ganzseitige, 15 Initialen, 15 Kopfvignetten und 12 Schlussvignetten). Kopfgoldschnitt. Grünes Maroquin (4 nerfs) mit goldgepr. Rückentitel. Innenkanten-Fileten. In marmorierter Halbleder-Chemise mit goldgepr. Rückentitel. Der Originalumschlag ist eingebunden. In marmorierten HLdr.-Schubern. Compositions gravées sur bois et imprimées par Philippe Gonin. Collaborateur: Dill. Nr. 115 von total 160 Exemplaren sur Japon impérial. In der Justification von Gonin und Dill signiert. Holzschnitte von Schmied in der Platte signiert. (Monod 6539). Kleines farbiges Wappen-Ex Libris auf Vorsatzblatt. Sehr gutes Exemplar dieses schönen Werkes in Ganzmaroquin.

couverture souple. - Les presses de F.L. Schmied, Paris 1927, 24x31cm, broché. - Edition originale imprimée à 300 exemplaires, le nôtre un des 20 exemplaires numérotés et justifiés par François-Louis Schmied, tirage de tête. Ouvrage illustré de 42 planches hors-texte et à pleine page. Dos et plats marginalement insolés en têtes, une éraflure en tête du deuxième plat, rares piqûres, agréable état intérieur. [ENGLISH TRANSLATION FOLLOWS] First edition, one of 300 copies, this one of 20 numbered and justified by François-Louis Schmied, the tirage de tête. With 42 full page plates hors texte. Spine and covers sunned at edges, scratch to head of lower cover, occasional wormholes, internally good. %.

Leather. Condition: Very Good. F. L. Schmied (illustrator). Limited. First Edition illustrated by Francois Louis Schmied. 3/4 Green Morocco binding over marbled paper boards, raised bands, gilt Art Deco motif panels, t.e.g., marble endpapers deckle edge. (20.5 x 15.5 cm). One of 850 copies from the total edition of 1030 on velin de Voiron paper; illustrated by b&w woodcut decorations and 6 original SIGNED hors-texte woodcut plates by F. L. Schmied, heightened in silver and gold pochoir; original wrappers sewn in. 411 pages; text in French. Handsome period Art Deco binding showing just light wear. References: Nasti B3; Ritchie 23; Monad 4695 Size: Octavo. Signed. Fine Binding.

Caja Editorial. Condition: Muy bien. François-Louis Schmied (illustrator). Primera edición. 30 hojas en muy buen papel de hilo, con ilustraciones y decoración de F.L. Schmied, maderas grabadas e impresas por Philippe Gonin que consta de 47 composiciones en color, incluyendo siete planchas de página completa, dos de las cuales están FIRMADAS por Schmied. =30 feuilles en très bon papier fil. Avec illustrations et décoration de F.L. Schmied, bois gravées et imprimées par Philippe Gonin composé de 47 compositions en couleur, dont sept planches de page complète, dont deux sont SIGNÉES par Schmied. Il a été tiré de cet ouvrage 175 exemplaires signés et numérotés (nº37). 26 x 21 cm. Sous chemise et étui. Firmado por el ilustrador.

Paperback. Condition: Very Good+. First Edition. 8vo (188 x 135 mm). Title and text printed in colors. 5 plates. Publisher's printed wrapper, covered in cloth folding case, within half-Morocco folding case. First signature loose. LIMITED EDITION, PRESENTATION COPY, number 8 of 25 copies on Hollande paper of a total edition of 225, signed by Schmied in red on the limitation page and additionally inscribed by Schmied to a Charles Miguet.".

couverture souple. - Les presses de F.L. Schmied, Paris 1927, 24x31cm, broché. - Edition originale imprimée à 300 exemplaires. Envoi autographe signé de François-Louis Schmied au comte Philippon au crayon de papier : ". pour le délicat souvenir que m'a laissée sa visite." Ouvrage illustré de 42 planches hors-texte et à pleine page. Rares piqûres affectant essentiellement le verso de certaines planches, agréable état intérieur. [ENGLISH TRANSLATION FOLLOWS] First edition of 300 copies. Autograph inscription from François-Louis schmied to the Count Philippon in pencil : ". pour le délicat souvenir que m'a laissée sa visite." With 42 plates hors texte and full page. Rare spots mostly affecting the verso of some plates, internally good.

Schmied, François-Louis (illustrator). First edition. 10 x 7-1/2 inches; 250 mm x 193 mm. 124 pp. One illustration by F.-L. Schmied, typograpy designed and printed by Théo Schmied, pochoir illustration printed by J. Saudé. Printed on Japon super-nacré. Copy No. 129 of 150: one hundred copies were reserved for the members, with fifty for sale. The separate illustration "L' Archangel de la Poésie" is present in two states, both numbered in pencil, and signed by Schmied. The uncolored (which is a phototype), and the final version, with gold, silver, red, green, and white gouache, and blue watercolor added. Slight spotting to wrapper and edges. Folding case covered with Japanese paper. Nasti B24.

Grand in-8 ( 260 X 180 mm ) de 23 pages, broché sous couverture ornée d'un semis d'étoiles à froid et au palladium, titre au palladium. EDITION ORIGINALE et premier tirage de l'ornementation d'encadrements à motifs floraux et animaliers, d'une vignette de titre, d'un cul-de-lampe et de deux magnifiques gravures sur bois hors-texte en couleurs de .F.-L. SCHMIED. Joli livre imprimé à 1025 exemplaires numérotés, celui-ci ( N°51 ), 1 des 200 sur Hollande ( second papier après 25 Japon Impérial ). Très bel exemplaire, très frais enrichi d'un envoi autographe signé de F.L. SCHMIED. LE PREMIER LIVRE ILLUSTRE PAR F.L. SCHMIED. Autographe Beaux-arts Gravure Xylographie Littérature.

Pas de couverture. Condition: Bon. Edition originale. 197x150mm, (325x250mm à vue). Gravure sur bois originale numérotée (114/160) et contresignée par l'artiste, extraite de l'album de l' "Imagier de la gravure sur bois originale" pour l'année 1924. Tirage sur papier d'Arches avec tampon à sec de la Société de la gravure sur bois. Infimes trous d'épingle dans la marge supérieure. Belle épreuve. Signé par l'illustrateur.

rigide. Ornés de vignettes taillées dans le bois par F.-L. Schmied, 1 vol. petit in-8 cartonnage éditeur sous étui, Chez Jules Meynial, Paris, 1918, 5 ff., 100 pp. et 3 ff. n. ch. Un des 400 exemplaires sur vélin de hollande (tirage unique après un exemplaire sur Japon). Rare et bon exemplaire (infimes frott. et très lég. rouss. au cartonnage, infimes rouss. aux premiers feuillets, très bon état par ailleurs) de l'un des tous premiers ouvrages illustrés (et imprimés) par le grand illustrateur François-Louis Schmied (1873-1941) Langue: Français.

rigide. Ornés de vignettes taillées dans le bois par F.-L. Schmied, un des 400 exemplaires sur vélin de hollande (tirage unique après un exemplaire sur Japon), 1 vol. petit in-8 reliure bradel demi-maroquin bordeaux, couvertures et dos conservés, tête dorée, reliure signée de Lordereau, Chez Jules Meynial, Paris, 1918, 5 ff., 100 pp. et 3 ff. n. ch Bon état (dos lég. passé, bel exmplaire par ailleurs) pour cet exemplaire de l'un des tous premiers ouvrages illustrés (et imprimés) par le grand illustrateur François-Louis Schmied (1873-1941) Langue: Français.

A PERFECT COPY ON IMPERIAL JAPANESE PAPER of this beautifully-illustrated edition of Dante s Paradiso, with art déco typography by François-Louis Schmied. 141 pp. From a total edition of 500 copies, this is ONE OF ONLY 54 COPIES ON IMPERIAL JAPANESE PAPER WITH AN EXTRA SUITE OF COSTETTI'S WOOD-ENGRAVINGS, PRINTED WITHOUT THE TEXT ON FINE CHINESE PAPER. Laid in is a cordial handwritten letter (dated 1932) from Maurice Tahon, co-founder (with Schmied) of Editions du Belier, to the original purchaser of this volume. 4to. Sewn in original printed wraps. Suite of wood-engravings loose as issued. FINE AND BRIGHT, WITH NO DEFECTS, in the original board chemise and slipcase.