lamdha books -
Catalogue of books on the Pre-Raphaelites, Symbolists and Decadents

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Barre, Andre
Le Symbolisme - Two volumes Volume 1: Essai Historique sur le Mouvement Symboliste en France de 1885 a 1900; Volume 2: Bibliographie de la Poesie Symboliste.
Burt Franklin, New York NY, nd.
Facsimile reprint: two volumes, octavo; hardcover, with gilt spine titles and decorations; 702pp. [411pp. + 291pp.]. Mild wear; endpapers and text block edges lightly toned and spotted. No dustwrappers. Very good. Facsimile of 1911 Paris publication.
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Bloy, Leon
Lettres a Georges Khnopff
Les Editions du Balancier, Liege, 1929.
First edition. Paperback, octavo, 55pp. Minimal wear, slight foxing to card covers. Near fine. No. 222 of only 300 copies printed.
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Clutton-Brock, Arthur
William Morris
Parkstone Press International, New York NY, 2007.
Quarto; hardcover, with illustrated boards and decorative endpapers; 255pp., with many colour and monochrome illustrations. Minor wear. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Near fine. Poet, artist, designer and editor, William Morris was a colossal figure in Victorian England, and the inspiration of the Pre-Raphaelite painters, Rossetti and Burne-Jones, as well as John Ruskin, and was a prime catalyst in his Arts and Crafts movement. Out of respect to the author's original work (of 1914), this text has not been corrected or updated, particularly regarding attribution, dates, and the current locations of works. The information in the captions, however, has been updated.
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Daly, Gay
Pre-Raphaelites in Love
Ticknor & Fields, New York NY, 1989.
Octavo; hardcover, quarter-bound in cloth with metallic-green spine titles and decorative endpapers; 468pp., with 16pp. of colour and monochrome plates. Moderate wear; a little shaken; spine extremities softened; text block edges lightly toned and top edge dusted; previous owner's name in ink to the half-title page. Dustwrapper is rubbed and edgeworn; sunned along the spine panel; now professionally protected by superior non-adhesive polypropylene film. Very good. "Behind the dreamlike women in Pre-Raphaelite paintings stood the artists' flesh-and-blood models with whom they often became romantically involved. Dante Gabriel Rossetti transformed shopkeeper Elizabeth Siddal into his saintly Beatrice and slept with barmaid Annie Miller. By marrying teenaged Jane Burden, William Morris tried to seize hold of one of the medieval maidens in his paintings; he projected grace, charm, uncanny wisdom onto her shyness, but she felt emotionally trapped and the marriage broke down. Daly, who has taught women's studies, presents an often touching, sometimes hilarious, always engrossing portrait of the high-minded Victorian Brotherhood, their romances and their almost incestuous cross-connections. The men do not come off well: William Holman Hunt's arrogant attempt to remake flirtatious Annie Miller into a well-read lady reminds one of the Pygmalion-Galatea myth. John Ruskin trivialized and condescended to his wife Effie Gray; she later married sexually demanding John Everett Millais, who made her a breeder in an endless round of pregnancies. This is amorous biography at its witty, perceptive best." - Publishers Weekly
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Delevoy, Robert L.
Symbolists and Symbolism
Skira; Macmillan, London, 1978.
Hardcover folio; blue cloth boards with lower front board and spine gilt titling; 247pp., 83 colour and 228 monochrome illustrations. Minor wear; mildly foxed endpapers and half-title page; very faint spotting to upper text block edges and mild browning to upper rear edge of dustwrapper. Very good to near finer and encased in card slipcase. Symbolism was less a school than the atmosphere of the period. It is this atmosphere and the spirit of the artists who created it, from Vienna to London, that the Belgian art historian Robert L. Delevoy evokes in this comprehensive study of Symbolism. Aided by hundreds of fine reproductions of paintings, watercolours and drawings, the author has succeeded in the difficult task of synthesising the overall significance of this far-reaching movement.
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Eemans, Nestor
Fernand Khnopff
Le Ministere de L'Instruction Publique, Antwerp, 1950.
Small quarto hardcover, 15pp., and 24pp., illustrations in monochrome and frontispiece in colour. Little foxing, wear; near fine in dustwrapper worn at edges; professionally protected by superior non-adhesive polypropylene film. The artist's name in written in pen on the spine section of the wrapper and a number to the top of the inner fold.
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Elliott, David B.
A Pre-Raphaelite Marriage The Lives and Works of Marie Spartali Stillman & William James Stillman
Antique Collectors' Club, London, 2006.
Quarto hardcover, 247pp., colour and monochrome illustrations. Minor wear; a few scratches on rear panel of dustwrapper (now professionally protected by superior non-adhesive polypropylene film). Otherwise near fine to fine. An occasional model for Dante Gabriel Rossetti and Edward Burne-Jones, and the subject of several photographs by Julia Margaret Cameron, Marie Spartali Stillman remains a well-known face of the Pre-Raphaelite era. She was a gifted artist in her own right and exhibited widely. Her husband, a New Englander by birth, was an important figure in the development of American taste for a domestic school of painting. He painted with the Hudson River school was a pioneering photographer.
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Jonge, Alex de
Baudelaire Prince of Clouds
Paddington Press Ltd., Scarborough UK, 1976.
Octavo; hardcover, with gilt spine titles; 240pp., with a monochrome frontispiece. Mild wear; text block edges lightly toned and top edge lightly dusted. Dustwrapper is mildly rubbed. Very good to near fine. "Baudelaire was the first major writer to build his art from the process of his own destruction, the first of the damned," writes the author in his Introduction. "It is partly because he was the first that the story of his life is so absorbing, and sometimes so very painful."
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Kaplan, Julius
Gustave Moreau
Los Angeles County Museum of Art, Los Angeles CA, 1974.
Quarto hardcover, 146pp., some colour but mainly monochrome illustrations. Lightly spotted text block edges; rubbed dustwrapper with edge and corner wear, chipping and small tear on upper rear edge. Very good otherwise and professionally protected by superior non-adhesive polypropylene film. "I believe only in what I cannot see and only in what I feel". Thus the artistic credo of Gustave Moreau, a unique and enigmatic painter preoccupied in his art with the attempt to dissolve the duality of matter and spirit. In the personalised eclecticism of his work, its transcendent poetry is what we admire today, not his absurdly designated place as a decadent painter. The author argues strongly for Moreau to be seen as such an original, and not as a reactionary aesthete working against the fashionable empiricism of the day.
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Khnopff, Fernand
Fernand Khnopff
Galleria del Levante, Milano, nd.
Stapled square octavo catalogue booklet of 35 monochrome prints. Very minor wear, spotting. Very good to near fine. Text in English and Italian.
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Maas, Jeremy
The Victorian Art World in Photographs
Barrie & Jenkins, London, 1984.
Quarto hardcover, 224pp., monochrome illustrations. Minor scuffing to dustwrapper. Otherwise near fine. This book is without precedent. It is largely based on the author's own collection of photographs of Victorian painters and sculptors with their wives, models, mistresses, dealers and patrons. The collection is the largest in private hands. Anyone who achieved any fame at all in the Victorian era was photographed either for friends or for a ready sale to an eager public. Maas' copiously illustrated album is an excitingly rich visual record of the Victorian art world revealing the artists in full-scale portraiture, at work in their studios, or in informal groupings. An unrepeatable visual feast. Artists included are Palmer, Alma-Tadema, Beardsley, Burne-Jones, Dadd, Millais and Lord Leighton.
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Maas, Jeremy
Victorian Painters
Barrie & Jenkins, London, 1970.
Hardcover, square quarto; yellow cloth boards with gilt spine titling and illustrated endpapers; 257pp., 300 illustrations with 45 in colour. Minor wear; one or two spots on boards; mild spotting and a few small marks on text block edges. Illustrated dustwrapper with slightly faded rear panel; small tear and crease on lower front edge and mild wear to edges. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Encouraged by new sources of patronage, painting broadened its subject matter and swelled its output in the Victorian age. It was a period in which painters achieved great fame and often great wealth. It was also a turbulent period for painting, a period of movements and counter-movements, of schisms and rivalries. it produced not just the glories of the Pre-Raphaelite movement but the academic though frequently brilliant works of the Neo-Classical school, and many fine landscapes, genre paintings, nudes, still lifes, sporting, animal and fairy paintings. As a period of feverish activity, it is without parallel in the history of English painting. It was also the era in which the very foundations of painting were shaken by the arrival of a new art-form, photography, which brought into question many of the traditional ideas of painting.
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Schwob, Marcel (Iain White, trans.)
The King in the Golden Mask and Other Stories
Carcanet, Manchester UK, 1982.
Octavo hardcover; black boards with gilt spine titling; 186pp. Browned text block edges with spotting on top and one or two spots otherwise; toned page edges; one or two tiny marks on early pages. Very good to near fine in like dustwrapper now professionally protected by superior non-adhesive polypropylene film. The King in the Golden Mask gathers together Marcel Schwob's cruellest and most erudite tales. Melding the fantastic with historical fiction, these stories swarm around moments of unexplained violence both historical and imaginary, often blending the two through Schwob's collaging of primary source documents into fiction. Brimming with murder, suicide, royal leprosy, and medieval witchcraft, this collection describes for us such hallucinatory detail and linguistic specificity that the reader is left wondering whether they aren't newly unearthed historical documents. To read Schwob is to encounter human history in its most scintillating and ebullient form as it comes into contact with his unparalleled imagination.
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Staley, Allen
The Pre-Raphaelite Landscape
Oxford University Press, London, 1973.
Hardcover quarto, xxvi + 193pp., 8 colour, 100 monochrome plates. Preliminaries and text block edges spotted; boards slightly sunned, esp. spine, few small stains; light wear to dustwrapper. particularly edges, backstrip a bit sunned. Wrapper now professionally protected by superior non-adhesive polypropylene film. The book examines the approach of the Pre-Raphaelite Brotherhood and their associates to the natural world. It is the first serious examination of the consequences of the Pre-Raphaelite creed of 'exact truth to nature', which led to the ever increasing importance of natural detail in Pre-Raphaelite school of landscape painting. Following a discussion of the developing interest in the precise depiction of nature by the Pre-Raphaelites from 1848 to 1851, chapters on individual artists, many hitherto almost forgotten, trace the history of the Pre-Raphaelite landscape in the 1850s and 1860s and its relation to earlier and later art in England and abroad. Much new light is cast on Ruskin's central role as theorist, patron, and critic of mid Victorian art.
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