1. ABNEY, CAPTAIN W. DE W. Colour measurement and mixture. London: Society for Promoting Christian Knowledge, 1891

First edition. Deals with the measurement of the spectrum, and with new methods of experimenting, e.g. (1) the heating effect; (2) the luminosity and (3) the chemical effect on various salts of the different rays of the spectrum. Abney was an excellent scientist "to whom we are indebted for much of the most valuable work in the field of photo-chemistry, spectroanalysis, and photography." - Eder, Hist. of photography, p. 455. See also the Dictionary of Scientific Biography. Not in the Birren Catalogue.

8vo, orig. cloth. 207+(vi) pp. with 45 text illus. Excellent copy.

2. ALBERS, JOSEF. Interaction of color. Unabridged text and selected plates. Revised edition. New Haven: Yale University Press, 1975

A modern classic in the literature of color. Originally published in a limited boxed edition in 1963, "this masterwork of one of the most influential teacher-artists of the twentieth century was conceived as a guide and teaching aid for artists, instructors and students." The original edition is now worth several thousand dollars; this edition has the same text but fewer plates.

8vo, orig. color printed wrappers. x+81+1 pp. with scattered text illus and diagrams and 10 color plates.

3. AMERICAN OPTICAL CO. Pseudo-Isochromatic plates for testing color perception. [Philadelphia & New York: Beck Engraving Co], 1940

A series of plates of letters and numbers made of colored dots against closely colored backgrounds intended to test for color blindness. Carefully and beautifully printed by the Beck Engraving Co. with inks from International Printing Ink Div. of Interchemical Corp. A pamphlet of explanatory text accompanies the series of plates. Comments on similar color-blindness testing aids are given by Professor Herbert in the Yale Library Gazette, July 1974, pp. 21-2.

Tall 8vo, orig. printed board flaps. 22 flaps each with 2 color plates. 11 page explanatory pamphlet.

SIXTEENTH CENTURY TREATISE ON THE COLORS OF ARMS

4. ARALDO, SICILLO. Trattato de I colori nelle arme. Venetia: Domenico Nicolino, 1565

First edition. A very early treatise on the colors of coats of arms, and as such a branch of the large category of artists' manuals. There was a later edition of this work published in Venice 1606 (see Cicognara 178). Of this edition the NUC locates only one copy (Oberlin College). According to the NUC there were later editions in 1593 and 1595.

Small 8vo, 17th full polished calf, gilt spine. 35 leaves paginated on the rectos only. Bound with Occolti and Pellegrino, both of which are catalogued separately.

5. ARCLAIS DE MONTAMY [DIDIER D']. TraitÇ des couleurs pour la peinture en Çmail et sur la porcelaine. Paris: G. Cavalier, 1765.

Originally published 1758. "D'Arclais was one of the best chemists of his time. The recipies contained in his book are few in number, but they are all the result of his own practical experiments. He discovered the preparation of a bright red obtained from iron, and he describes the process with great accuracy. Although he was not a professional painter, his advice for painting in vitrifiable colours, which is correct and clear, could not have been better expressed by a practical man." - Solon, p. 7. Duncan, 329. Manning no. 7 ("In the introductory pages...artists are warned that if they do not succeed in preparing the colors of M. de Montamy, or in employing them, it will be their own fault!). UCBA, I, col 39 noting a German edition of 1767. This copy is in the original binding, worn, but with nice stamps on the spine, and quite charming in spite of the condition. We have preserved it as is in a custom-made box. Well represented in institutional holdings (NUC: 15) but scarce in the marketplace.

12mo, original full calf, head and tail of spine chipped, hinges cracked. lii+287 pp. Preserved in a drop-back box with morocco label.

FIRST EDITION OF ONE OF THE EARLIEST PRINTED BOOKS ON COLOR

6. ARISTOTELES. De Coloribus libellus. Florence: L. Torrentini, 1548

First edition of one of the earliest printed books on color, the translation and commentary by Simone Porzio. A very important work in the literature of the Aristotelian legacy on color science; this is given a good analysis by Martin Kemp in The Science of Art, p. 264. "The scattered fragments of Aritotle's views on color and those of his immediate circle are to be found in a number of the authentic works, most notably in...a treatise once attributed to him, De Coloribus, now more generaly assigned to his follower, Theophrastus...The implied scale of light to dark colours, reflecting the white-black ratios in their mixture, proved to be the most fruitful of these ideas, and was actively promoted by a number of Renaissance theorists. Portius's commentary on De Coloribus, published in Florence in 1548, graded colors according to the extent which they 'shine', or, as we would say, according to their luminosity. Yellow stands at the most luminous end of the scale, while violet 'shines' less than any of the other less intermediate colors." Kemp goes on to give a fascinating analysis of this work together with other Renaissance color theorists. In this Editio Princeps the Greek text is here accompanied by the Latin version and commentary of the Neapolitan physician and philosopher Simone Porzio (1497-1554), who two years later was inspired to publish his own treatise on an aspect of the subject: De coloribus Oculorum - the two works are in fact still occasionally confused. A very handsomely produced volume, marked by the typographical elegance characteristic of Torrentino editions. Cranz [Bib. of Aristotle's works], 108. Hoffman, I, 289 ("Rare and very important"); Adams P.1958.

4to, later (late 18th-early 19th century) paste paper boards, vellum spine. 197+1 pp. Old stain in lower blank margins of last third of book. [Bound as prelminary matter to this volume is the treatise by Telesius; see under Telesius].

7. BACON, J. The theory of colouring: being an analysis of the principles of contrast and harmony in the arrangement of colours with their application to the study of nature, and hints on the composition of pictures, etc. London: Geo. Rowney & Co., 1866

First edition. This was an important and long popular manual. Robert Herbert comments: "In the next generation of British wrtiers, one continues to feel a modern sense of color that is usually regarded as a prerogative of French Impressionists. The manual by Bacon stresses binary and triadic color harmonies unencumbered by the long disquisitions on aesthetics that mark most French treatises, and its plates, although in rather conservative figurative imagery, show color opposites directly opposed, and three color harmonies, that look forward to Neo-Impressionism and Fauvism." - Yale Library Gazette, July 1974, p. 14. Birren Collection 23.

8vo, orig. blue cloth, gilt, a.e.g. viii51+41 pp of illus. ads with 6 chromolitho plates. and one wood-engr. illus. Bit of wear to tail of spine.

GOETHE'S THEORY OF COLORS

8. BAHR, JOHANN KARL. Vortrage uber Newton's und Gothe's Farbenlehre gehalten im Kunstler-Verein zu Dresden. Dresden: Woldemar Turk, 1863

First edition, an untrimmed and unopened copy in the original printed wrappers. A mid-nineteenth century critical study of the color theory of Newton and Goethe. Bahr (1801-1869) studied art at the famous academy in Dresden, went to Italy where he met Thorwaldsen and Koch, both of whom influenced him. He took a second trip to Italy after his wife's death in 1834 at which time he met Corneilus, Reinhart and Vernet. A much sought after portraitist (he painted Caspar David Friedrich, his fellow artist, in 1836) and history painter of the German-Roman school, he settled permanently in Dresden where he became professor at the Academy of Fine Arts. In addition to his color studies he became an important Dante scholar and did work as well in archaeology and natural sciences. He was a correspondent with the "University zu New-York" (probably Columbia). Rare.

8vo, orig. printed wraps (spine mended). iv+161(iii) pp with 1 double-p. engr. plate. Untrimmed and unopened. A few chips to rear wrapper.

9. BANCROFT, EDWARD. Experimental researches concerning the philosophy of permanent colours; and the best means of producing them by dyeing, callico printing, &c. Philadelphia: Thomas Dobson, 1814

Originally published London, 1794, in one volume; this is the first American edition, reprinted from the second [London] edition containing the original volume one with added notes and an additional volume. Thus it is the best edition. It is a famous book in the literature of colours and dyeing and is no 10 on Sidney Edelstein's list of "The Thirteen Keys" (Historical notes on the wet processing industry, 1972) and the only book on the list written by an American. Born in Westfield, Mass, in 1744, Bancroft had a fascinating career as a scientist and also as a spy during the Revolutionary War both for and against America (see DAB; see also Edelstein, "The dual life of Edward Bancroft" in the work cited above). His book was "...a great contribution...his thoughts and research methods are as reasonable and as practical as the best we use today." (Edelstein).

Shaw-Shoemaker 30738. Kress B. 6259. Bolton, I, p. 280 (this edition). Rink 1851. Ron 67 - "It is a serious scientific contribution to the subject many years in advance of its time." Lawrie 26 and 27 citing other editions (including one in German, 1817-18). Partington III, 515-516.

2 vols. 8vo, recent half calf, antique. xlv+401+ii and 394 pp. Old faint lib. blindstamp on t.p. of vol I. Browned as usual.

COLOR PLATES IN LEIGHTON BROTHERS' CHROMATIC PROCESS

10. BARNARD, GEORGE. The theory and practice of landscape painting in water colours. Illustrated by a series of twenty-four designs, coloured diagrams, and numerous woodcuts; with two extra plates on simultaneous contrasts. London: Wm. S. Orr & Co., 1855

First and much the best edition of this long popular work, almost entirely devoted to the subject of color. "A tour-de-force of Leighton's colour printing. It contains 24 full page color plates by Leighton Brothers, of such variety that together they make of the book a kind of manual of color printing. In instructing beginning watercolorists, Barnard here showed the successive states of producing a drawing; at the same time this illustration showed the successive stages of printing a color plate. Among other prints in the book are some excellent examples of Leighton's new method of coloring with relief metal plates. There are also a number of interesting studies in color juxtaposition. The volume is remarkable for the continued brilliancy of its colored inks. The printing, on the other hand, seems to have been carelessly executed, so that the overall quality of each plate is lower than what one generally expects from Leighton." - J. Friedman, Color printing in England, no. 83. Abbey, Life, no. 94. McLean, VBD, p. 192. Not in the Birren Catalogue.

4to,orig. half polished red calf, highly gilt spine. vi+176 pp. with 24 color plates, each with dust sheet. Light stain to the outer corner of frontisp and a few other plates but a very nice copy.

11. BEAUDENEAU, JULIE. Harmonie des couleurs. Paris: Dunod, 1940

First edition, author's presentation copy inscribed: "A Madame Clement Carpeaux affecteux souvenir de l'auteur, Julie Beaudeneau, Nice, Avril 1945." The author was an officer of public instruction and winner of a medal of honour from the Societe Industrielle de Mulhouse. Ingerand, Bib de la couleur, no. 333. Not in the Birren Catalogue.

8vo, orig. printed wrappers in glassine. viii+49+1 pp. with 4 color plates hors texte on coated stock and 25 text illus.

12. BEAUMONT, ROBERTS. Colour in woven design, being a treatise on the science and technology of textile colouring (woollen, worsted, cotton and silk materials). Second edition, rewritten and enlarged, with numerous additional original illustrations. London & New York: Whittaker & Co., 1912

Originally published 1890. The author claims this to be "the first treatise published professing to treat exclusively of the colouring of woven styles." The color plates are unusual and are noted in the preface: "It need scarcely be observed that the coloured illustrations are unique, being exact representations of the woven textures." They are in fact color halftones of close-up photographs of woven textiles showing the colors and textures. Birren Catalogue 29 (this edition).

8vo, orig. cloth. xxiv+372 pp. with 39 colored plates containing 197 illus and 280 figures in the text.

13. BEDDARD, FRANK E. Animal coloration, an account of the principal facts and theories relating to the colours and markings of animals. Second edition. London: Swan Sonnenschein & Co., New York: McMillan,

1895

First published 1892. Written for a lay audience but presenting some facts and theories which had not hitherto been published in popular form (the theories of Dr. Eisig and M. Stolzmann). The color lithographic plates of animals in habitats are charming. Not in the Birren Collection.

8vo, recent cloth. viii+288 pp. with 36 wood-engr. illus and 4 color litho plates.

14. BENEDIKT, R. The chemistry of the coal tar colours. Translated from the German of R. B. and edited, with additions, by E. Knecht. Second edition, revised and enlarged. London: George Bell & Sons, 1889

The first English edition was 1886. An uncommon book, not in the very complete Edelstein collection. A volume in Bell's series of "Technological handbooks". Lawrie 43.

8vo, orig. cloth. xii+333+23 pp. Inner hinges weak.

15. BENSON, WILLIAM. Manual of the science of colour on the true theory of the colour-sensations and the natural system. London: Chapman and Hall, 1871

Only edition, a fine copy. Less common than Benson's Principles of colour both of these works are serious contributions to the literature of color theory and they are the only books written by Benson. The frontispiece to the present work (the colour-cube) is carefully hand colored. Wurmfeld, Color documents, includes Benson's Principles with a good note. Birren Collection 33.

8vo, cont full crushed red morocco, the arms of Queen Victoria on cover. xii+58+1 pp. with hand-col frontisp., 4 text illus and one striking black and white litho plate.

16. BENSON, WILLIAM. Principles of the science of colour concisely stated to aid and promote their useful application in the decorative arts. London: Chapman & Hall, 1868 - (1876)

First edition, second issue, of this elegant and unusual book. "Benson, an architect, published his unique cube-shaped color solid in 1868. Benson's cube model stands on end with a black to white vertical axis...Benson's elegant diagrams, along with hand-colored plates, show how the cube may be sliced to reveal the colors that form the interior. He cites Mayer, Runge, and Chevreul as sources for his theories, but criticizes Field as being "too hasty." - Color documents, no. 27. Professor Herbert also comments on the book: "Author's color standard based on a cube tipped on a point, and incorporating the then recent theories of Maxwell and Helmholtz." ("A color bibliography, II" in Yale Library Gazette, 1977, p. 143). There were two issues of the first edition of this book; the first had hand colored plates; the second, as here, is identified by an inserted leaf of text, pp. vii/viii, "Advertisement to the issue of 1876." The color plates in this issue are the same as in the first except that instead of being hand colored they are made of circular colored paper samples mounted by hand (see Herbert's description). Birren Catalogue no. 34.

4to, orig. cloth, roan spine. x+48 pp with 6 litho uncol plates, 4 text illus (of which 2 hand-colored) and 5 plates with mounted colored circle patterns. Light foxing on a few of the plate, but a fine absolutely complete copy.

17. BINDER, JOSEPH. Colour in advertising. London & New York: The Studio, 1934

First edition; a very handsome book. Illustrated with 26 full color tipped in plates, very much in the style of the thirties. Includes the work of important graphic and commercial artists, including Purvis, Alexeieff, Jean Dupas, E. McKnight Kauffer, Joseph Binder, etc. Originals of the plates were posters, showcards, booklet covers, menu covers, fashion drawings, a trade sign, a color photograph, etc. The text discusses the law of color, color harmony and the poster, prismatic color, etc. etc. Examples were selected from the best work in "Modern Publicity."

4to, orig. cloth. Unpaginated (ca 130 pp) with t.p. in red and black. With 26 tipped in color plates and 3 tipped in color text illus. Small area of paper stuck to the rear cover (removable).

THE FOLLOWING SEVENTEEN TITLES BY

FABER BIRREN ARE ARRANGED CHRONOLOGICALLY

18. BIRREN, FABER. The Buckeye Cover color guide. Effective color schemes from ten standardized inks with a practical discussion of color harmony by Faber Birren. Hamilton, Ohio: Beckett Paper Co., 1933

Fine absolutely complete copy of papermaker's sample book with with an introductory essay by Birren. Inside the rear cover are sample booklets of Buckeye cover and Buckeye text as well as Becket cover and Becket text. Not at all common, this is not included in the extensive list of Birren titles in the Birren Catalogue.

4to, orig. stiff card color printed wrappers. 8+4 pp with 26 ff of color cover stock samples, all printed in colors.

19. BIRREN, FABER. The Birren color equation. Chicago: The Crimson Press, 1934

"A modern psychological approach to color...sets forth a practical equation that has universal application to all arts and industries utilizing color in any medium. It is a workable instrument, not a theory..." Includes a brief essay: "The six modern dimensions of color harmony." Uncommon; not the the Birren Catalogue.

8vo, stiff card, folded to 3 panels (6 sides) with 2 color printed diagrams. In orig. printed envelope.

20. BIRREN, FABER. Color dimensions. Creating new principles of color harmony and a practical equation in color definition. Chicago: The Crimson Press, 1934

First edition of the author's second book. Birren (1900-1988) was an eminent scholar, author, and historian, known for his work in the area of human responses to color, with special focus on color preferences and the functional uses of color for improved productivity and safety in industry. Birren became an authority on visual, physiological, and psychological reactions to color. He was the author of over 25 books. His major collection of books on color was given to Yale. See Hope & Walsh, The color compendium, p. 41.

4to, orig. moire weave linen, spine faded, but an appealing binding. vi+58 pp with 29 text illus and 2 fdg. color plates printed on coated stock.

21. BIRREN, FABER. The printer's art of color. A comprehensive treatise defining those principles of color harmony that relate specifically to the craft of printing. Chicago: Crimson Press, 1935

First edition. Principles of color for printers differ from the color laws of the artist, the interior decorator or the textile weaver. Legibility must always be dominant. Birren Catalogue 71.

8vo, orig. silk cloth. 34+1 pp. with 14 text illus and 1 color plate.

22. BIRREN, FABER. Functional color. A book of facts and research meant to inspire more rational methods in the solution of color problems. New York: The Crimson Press, 1937

First edition. "The first book of its kind ever written - a compilation of practical facts about color that are of interest to the artist, designer, interior decorator, architect, and all who use color artistically, commercially or scientifically." - d.j. Birren Cat., 63.

8vo, orig. cloth in d.w. 124+(2) pp with 6 plates hors texte of which 3 are in color and occas text illus.

23. BIRREN, FABER. Monument to color. New York: McFarlane Warde McFarlane, 1938

First edition. Of all the books by Mr. Birren, this is the most spectacular. The plates are a tour de force of color printing (by the Hurst Engraving Co., Rochester); they must be seen. Birren Collection 68.

Large 4to, orig. cloth, spine faded. 97+1 pp with color frontisp, 31 text illus (some full page) and 16 color plates each with dust sheet. Occasional underlining in pencil.

24. BIRREN, FABER. Selling with color. New York: McGraw Hill, 1945

First edition. A work "written to be of practical benefit to modern business, to assure the effective development of consumer products, merchandising, advertising, packages and displays." Birren Cat., 74.

8vo, orig. cloth. x+244 pp. with numerous charts, graphs and illus.

25. BIRREN, FABER. Your color and your self. The significance of color preference in the study of human personality. Sandusky Ohio: Prang Co., 1952

First edition, signed by the author. Deals with the emotional significance of color. Birren Catalogue 80.

8vo, orig. boards, cloth spine. 124 pp.

26. BIRREN, FABER. New horizons in color. New York: Reinhold Publishing Corp, 1955

First edition. How to use color more effectively in architecture and decoration. Of special interest are the two plates containing 44 color chips (functional colors, machinery colors, safety and identification colors and decorative colors). Birren Collection 69.

4to, orig. cloth. viii+200 pp. with over 150 illus, 6 color plates and 2 plates of color chips.

27. BIRREN, FABER. Color, form and space. New York: Reinhold Publishing Co., 1961

First edition. Color for architects. "The elemental, integral place of color in three-dimensional constructions...this book will show you color as a building material more marvelous and malleable than any other." - d. j. Birren catalogue 51.

4to, orig. cloth. 128 pp. with24 color plates and 90 text illus.

28. BIRREN, FABER. Creative color. New York: Reinhold Pub. Corp., 1961

First edition. In this book "his original contribution is the development of a new "band" of color effects that are immediately applicable in such fields as commercial art, package design, ceramic and textile design." Birren Catalogue 60.

4to, orig. cloth in d.w. 128 pp with 30 color plates and numerous text illus.

29. BIRREN, FABER. Color, a survey in words and pictures, from ancient mysticism to modern science. New York: University Books, 1963

First edition. According to Hope & Walsh, The compendium of color (1990) this is one of the two most important books by Birren (the other being his The history of color in painting, q.v.). Birren catalogue 46.

4to, orig. cloth in orig. slipcase, a fine copy. 223 pp. with numerous illus.

30. BIRREN, FABER. Color psychology and color therapy. A factual study of the influence of color on human life. New York: University Books, 1965

Originally published 1950. The text is arranged in four sections: historical, biological, psychological and visual. Birren Collection 56.

8vo, orig. cloth. ix+284+ii pp. with 22 pages of halftones from photos on coated paper.

31. BIRREN, FABER. History of color in painting. New York: Van Nostrand Reinhold, 1965

First edition. A standard and important work, especially for its detailed, comparative study of old and recent color systems and its presentation of artists palettes. The latter are shown in two plates with 83 mounted color chips showing traditional pigments, the balanced palette, and the palettes of DaVinci, El Greco, Rembrandt, Turner and the Impressionists. Birren Collection 65.

Lg. 4to, orig. cloth in d.w. 304 pp. with over 500 illus and 2 plates with 83 mounted color chips.

32. BIRREN, FABER. Principles of color. A review of past traditions and modern theories of color harmony. New York: Van Nostrand Reinhold, 1969

First edition. A book for beginners "seeking a thorough grounding in the comprehension and solution of color problems, and for mature artists and teachers interested in keeping abreast of recent findings and conclusions." - d.j. Herbert, "A Color Biblography II", p. 145; Birren catalogue 70.

Square 8vo, orig. cloth in d.w. 96 pp. with 56 illus and 8 color plates.

33. BIRREN, FABER. Color & human response. Aspects of light and color bearing on the reactions of living things and the welfare of human beings. New York: Van Nostrand Reinhold, 1978

First edition. "Packed with engaging factual (and hypothetical) observations on the influences of color in life. Historical references as well as the latest scientific data..." - d.j. Birren Catalogue 47.

8vo, orig. cloth in d.w. 141 pp. with 16 b/w plates and 8 color plates and scattered drawings in the text.

34. BIRREN, FABER. Faber Birren collection of books on color. Art and Architecture Library, Yale University. A bibliography. New Haven: Yale Univ. Library, 1982

A checklist, arranged alphabetically, 673 titles. There is also a useful subject key in which the topics are arranged by letter. There are publications on scientific theory, and specialized bibliographies, but the collection's major holdings are books and publications on color theory, color techniques, artist's manuals and treatises, perception, vision, psychology, printing and the graphic arts, textiles, music, religion, biology, medicine, heraldry and the occult.

4to, orig. printed wraps. 42 pp.

THE OPTICAL MIXING OF COLORS

35. BLANC, CHARLES. The grammar of painting and engraving translated from the French of Blanc's Grammaire des arts du dessin by Kate Newell Doggett. Third edition. Chicago: S. C. Griggs & Co., 1879 An important book. "Originally published 1867, as Grammaire des art du dessin. Although not so stated, the final third only of the original treatise, the best known statement of the Beaux Arts aesthetic, incorporating a clear definition of optical mixing of colors based on Chevreul and Delacroix". - Herbert, "A color bibliog.", Yale Lib. Gazette, July 1974, p. 31. Birren Collection 83. Color Documents no. 33.

8vo, orig. dec. cloth, a nice copy. xx+330 pp. with 42 wood-engr. illus. and colour frontisp.

36. BOIGEY, MAURICE. La science des couleurs et l'art du peintre. Preface de J. F. Bouchor. Paris: Librairie Felix Alcan, 1923

First edition. An uncommon book written for painters, critics and "gens du monde." Includes an interesting chapter, "Les Daltoniens," referring to a little known episode in the history of color. The famous English chemist John Dalton (1766-1844) was able to see little or no red (on this see Sherman, Colour vision in the 19th century, pp. 175-6); Boigey states that there were large numbers of people with this problem and calls them "Daltoniens", presumably a synonym for what we today call color blind. Not in the Birren Collection. NUC locates five copies.

8vo, orig. printed wrappers, untrimmed. (vi)+vi+176 pp. with 18 plates (uncolored line illus). Very good copy.

37. BOUMA, DR. P. J. Physical aspects of colour. An introduction to the scientific study of colour stimuli and colour sensations. Eindhoven: Philips Industries, 1947

First edition. "Collects in book form the accumulated knowledge in the field of colorimetry and colour science." Includes a chapter on the historical development of colour science with sections on the pre-Newtonian era; Newton, Goethe, Young, Grassman, Maxwell; Helmholtz, Konig, Ostwald, Munsell, etc. Curiously he omits any mention of Chevreul. Includes the large folding color plate in the pocket inside rear cover. Birren Catalogue 89.

8vo, orig. cloth. 312 pp. with 113 text illus and large fdg color plate in pocket. Small number in ink at the base of the spine.

THE SECRETS OF MAKING COLORS

38. [BOUTET, CLAUDE]. TraitÇ de mignature pour apprendre aisÇment a peindre sans maitre, avec le secret de faire les plus belles couleurs, l'or bruny, & l'or en coquille. Troisiäme edition, reveue, corrigÇe & augxmentÇe par l'autheur. Paris: Christophe Ballard, 1696

Anything on the subject of colour before 1700 is extremely hard to find. Originally published Paris 1674, there were very many later editions. This edition has substantially more pages than any of the other editions for which we have references. The text stresses pigment and color recipes (most of the book is devoted to them) but there are also sections on drawing, use of the compass, preparation of vellum, etc. Prof. Herbert comments on this book, stating "It consists largely of recipes for pigment mixtures and, typically of seventeenth century manuals, these are subordinated to the images the painter creates. One finds advice on pigments for tan architecture, red drapery, blue skies, rather than on the colors themselves." Massing 16 listing 26 editions or printings and she states that the "above list is undoubtedly uncomplete." Birren catalogue 92.

12mo, old calf, hinges cracked. (xvi)+166+(x) pp with one wood-cut text illus.

39. BRADLEY, MILTON. Elementary color. With an introduction by Henry Lefavour, Professor of Physics, Williams College. Springfield, Mass: M. B. Co., 1895

Originally published 1895, this the third edition. Includes an extensive section of practical experiments with color. Professor Herbert has pointed out that these "object lessons", form and color exercises, reappeared later in the Bauhaus, and the transfer from children's instruction to art schools (via such educators as Franz Cizek and Adolf Hoelzel) is attracting a growing number of historians of modern art. (Yale Library Gazette, July 1974, pp. 22-23.) The frontispiece to the present work is a marvel of handwork; it is a series of two miniature color charts, side by side, of pure spectrum scales and broken spectrum scales, both made from the Bradley Educational Colored Papers. Together the two charts contain 126 individually mounted small squares of papers. Birren Collection 98.

8vo, orig. cloth. (iv)+132 pp with 64 text illus and frontisp as described above.

INFLUENCED THE PAINTER TURNER

40. BREWSTER, SIR DAVID. A treatise on optics. London: Longmans, &c., 1831

First edition. This was an important work in the literature of color theory, especially as it influenced the painter Turner. "Brewster was one of the theorists who was advocating an alternative to the Newtonian system. His main importance for Turner was that he provided the artist with a fully scientific argument for the three primaries, and he did this from a standpoint of admiration for Newton rather than from crude anti-Newtonianism. Brewster's writings, particularly his Optics (1831), contained a sustained, considerable and highly influential challenge to Newton's conception of colour..." (Kemp, The science of art, pp. 300-301). See also DSB. Not in the Birren catalogue.

12mo, orig. cloth, paper label on spine, spine soiled but a good copy. 383 pp. with 176 text illus.

41. BRITISH COLOUR COUNCIL. The British Colour Council dictionary of colour standards. Adopted by the British Standards Institution. London: B.C.C., 1934

First edition. An interesting and uncommon color standard, described by Professor Herbert: "The cost of hand-produced color charts was so great that industrial processes took over most book production by the 1920s. Occasionally one still feels close ties to older traditions, however. The British Colour Council dictionary of colour standards (1934) is rendered in silk ribbons, and the edition of 1952 in woolen yarns, preserving something of the nineteenth-century tradition of illustrating books with actual samples of woven and printed cloths, as well as of the constituient threads. The advantage of actual cloth or thread to the historian, let alone to the contemporary user, is the greater permanency of the colour and proof of the nature and quality of the material." - Yale Library Gazette, July 1974, p. 11. Birren Catalogue 101.

8vo, orig. publisher's cloth. The 220 silk ribbons mounted on accordian folding cards. Each color is named as well as given the B.C.C. code number.

42. BRONGNIART, ALEX. Coloring and decoration of ceramic ware. With notes and additions by Alphonse Salvetat. Translated from the French by Geo. M. J. Ashby. Chicago: Windsor & Kenfield Pub. Co., 1898

Brongniart was perhaps the single most important writer of the entire 19th century on the subject of ceramics; this is the first translation of any significant part of his work into English. The entire book is devoted to the coloring of ceramics; it is an excellent example of technical color literature - as opposed to color science or color theory as an end in itself. Not in Solon, Ceramic literature which does list a number of other Brongniart titles. Not in the Birren catalogue.

8vo, orig. cloth. 207+viii+iv pp with occas illus.

43. BRUCKE, DR. ERNEST. Les couleurs au point de vue physique, physiologique, artistique, et industriel. Paris: J. B.Bailliere & Fils, [1866]

First French edition, fine copy in the original printed wrappers. Originally published in Leipzig, 1866, this was a classic work in the field of color theory. "Ernest Wilhelm von Brucke (1819-1892) was the son of a painter and teacher of anatomy at the Academy of Fine Arts in Berlin. He dealt throughout his life with questions concerning the theory of art and colours. In 1852 he pointed out that the appearance of certain colors depends on the brightness of adjacent colours. His experiments were repeated by Helmholtz who confirmed and improved on them. The directors of the Imperial Museum of Arts and Industry in 1864 felt the need of a theory of colors not for artists but for the ever growing industry in the first period of rapid industrial expansion and the flooding of markets with cheap mass produced articles. Brucke was to find the remedy and thus helped to lay the foundations of an art which was to be called industrial design almost a century later." - Walter Alicke. See Sherman, Color vision in the 19th century, pp. 53 ff. Not in the Birren Catalogue.

8vo, orig. printed wrappers. (iv)344 pp. with 46 text illus. Fine copy.

44. BUCKLEY, MARY & DAVID BAUM. Color theory. A guide to information sources. Detroit: Gale Research Co., 1975

A useful bibliography of books on color, arranged by subject area: adaptation, aesthetics, architecture, decoration, design, form, imagery, harmony, colorimetry, perception, psychology, systems, theories, vision, etc. Indexed at the end by author. About 500 - 600 entries, with pagination and notes.

8vo, orig. cloth. x+173 pp.

45. BURNET, JOHN. Practical hints on colour in painting. Fifth edition. London: James Carpenter, 1843 A standard work of the early 19th century, illustrated with hand colored plates. This copy is part of a volume of collected works of Burnet, consisting of the following: An essay on the education of the eye, 2nd ed., 1837; Practical hints on composition, 5th ed., 1836; Practical hints on light and shade, 5th ed., 1838; Practical hints on color, 5th ed., 1843 and Practical hints on portrait painting (ed. H. Murray), 1860. The first and last of these titles do not normally appear in the "Practical hints" and are very difficult to find on their own. This copy belonged to the noted art historian W. G. Constable.

4to, orig. half cloth, neatly respined. 5 vols in one. (1) xii+73 pp. with 7 plates & 5 text illus; (2) 31 pp with 9 engr. plates; (3) vi+43 pp 8 engr. plates; (4) xii+64 pp with 8 hand-col plates (the first with color scales) and (5) (vi)+63 pp with 12 engr. plates. Good copy.

46. BURRIS-MEYER, ELIZABETH. Color and design in the decorative arts. New York: Prentice Hall Inc., 1935

First edition; this was a popular book which was revised in 1941 with the title Decorating livable homes. This edition is the only one to contain the two color charts, the first with 66 mounted color chips of "representative colors in common use in merchandising, advertising and dress." The second is a pigment color chart, 21 mounted paint chips in a color circle. The chapters discuss color for the layman: color science, harmony, color coordination in dress, color and cosmetics, the ensemble, designing for children; and a whole section on design and display: principles of design, harmony of proportion, harmony of balance, rythm and movement, interior and exterior display, lighting the home and the store, etc. Birren Catalogue 118 listing the revised edition.

8vo, orig. cloth. xx+572 pp. with 49 halftone illus and 2 color charts as described above.

47. BURRIS-MEYER, ELIZABETH. Contemporary color guide. How controlled color contributes to modern living. With 30 plates in color. New York: William Helburn, 1947

First edition. A very interesting book with 30 plates, each with 7 mounted strips of color, giving harmonized color schemes for various rooms of the house, e.g. foyer, hobby room, guest house, etc. Each of the color samples is identified according to the Munsell system of color notation. As with all such books with hand prepared and mounted plates, the edition cannot have been large. Birren Collection 117. NUC locates 5 copies.

8vo, orig. yellow cloth. ix+30 pp with 30 plates each with a leaf of letterpress (a total of 210 individual mounted color chips). Each plate with dust sheet.

"ONE OF THE LAST TRULY HANDSOME FASHION BOOKS"

48. BURRIS-MEYER, ELIZABETH. Historical color guide. Primitive to modern times with thirty plates in color. New York: William Helburn, 1938

Only edition, and considerably scarcer than the same author's Contemporary color guide. The 30 plates contain 150 color samples inked directly with rollers on heavy paper, cut and mounted for this edition. The historical styles include Egyptian, Cretan, Greek, Italian Renaissance, English Victorian, American sampler, Modern (Gauguin) etc. "The prolific Burris-Meyer, in her Historical color guide, produced one of the last of the truly handsome fashion books. She used intense, pure colors, that were inked directly with rollers on stiff paper, then cut and mounted." - Herbert, Yale Library Gazette, (July 1974), p. 28. Birren Collection 119.

8vo, orig. cloth. x+64 pp with plates as above, each with dust sheet.

COLOR AS INFORMATION

49. CALLENDER'S CABLE & CONSTRUCTION CO. LTD. [Illustrated trade catalogue]. London & Erith, 1905

Fine copy of an unusual and visually pleasing trade catalogue. It is illustrated with about 45 cross sections of various cables printed in bold color lithography; each color stands for a material or metal (gold = copper; yellow = fibre or paper; gray = lead; red = steel, etc). The colors are explained in an index at the beginning. The circular diagrams are visually pleasing and in their variety/similarity resemble to some degree an artist's book. On this general subject see E. Tufte, Envisioning information (Cheshire, Conn., 1990).

12mo, orig. cloth, nice bright copy. 175 pp. with about 45 color plates.

50. CAMPBELL, LADY ARCHIBALD. Ranibow-music; or the philosophy of harmony in colour-grouping. London: Bernard Quaritch, 1886

As Professor Herbert has stated, over the course of the 19th century, musical analogies had been used with increasing frequency to explain the intangible qualities of painting, until at the end of the century there was a widespread belief in the interrelationships of color and music. See his comments on color music in the Yale Library Gazette July 1974, pp. 16-17. Lady Campbell discusses Whistler's Peacock Room, then goes on to discuss color music theory of Castel, Arcimboldi, Newton, Bacon, Goethe, Field and others. The present work is uncommon; not in the Birren Catalogue.

Oblong 8vo, disbound, but orig. printed wrappers. (ii)+34 pp. Printed on fine hand-made paper.

51. CAREL, HUBERT T. Chemical urinalysis. Minneapolis: University Book Store, 1898

First edition. An intriguing little book which finds a place in this color collection as the frontispiece is a "Scale of urine tints prepared with water colors according to Vogel's original article." Each of the nine mounted color samples are named, from pale yellow to brownish black. Science has come a long way in the intervening century! The author was not an M.D. but a Demonstrator in Chemistry.

12mo, orig. full roan. 70 pp with scattered text ilus and color frontisp as described above.

52. CARPENTER, H. BARRETT. Suggestions for the study of colour. London: Batsford, 1923

Originally published 1915. The author was headmaster of the School of Art, Rochdale. He claims to have made a long series of original experiments which in the end verified the truth of Rood's conclusions, "while beyond these there has emerged a new principle which appears to be clearly established in nature, that of 'Discord.'" Not in the Birren Catalogue which does list another later title by the same author.

8vo, orig. cloth. 102 pp. with 20 very handsome full page color plates for the purpose of making clear principles of the text.

COLOR MUSIC

53. CASTEL, [LOUIS BERTRAND]. L'optique des couleurs, fondÇe sur les simples observations, & tournÇe sur-tout Ö la pratique de la peinture, de la teniture, & des autres arts coloristes. Paris: Briasson, 1740

First and only edition. A very important work in the field of color music, it includes a description "de l'orgue ou clavecin oculaire de P. Castel" by George Phillipe Telemann; this depended upon the projection of colors simultaneously with the playing of the individual keys to which they were attached. This was the first attempt at an instrument of this type and thus became the forerunner of the electric color-organ of the music halls of the late 1890s and the psychedelic laser concerts and light shows of the late 20th century. The book is also important for its references to textiles and includes a recommendation for dyeing cloth with the aid of the three primitive colors only. See R. L. Herbert, Yale Lib. Gazette, (July 1974), pp. 16 and 27. Birren Collection 131. DSB III, 114 ff. Wallis, Newton & Newtoniana, 200.6. Massing 19. See also Kemp, The science of art, pp. 287-89 for a long analysis. Not in the Edelstein Collection. Rare; the last copy in the book auction records appears in 1975.

8vo, recent marbled sides, calf spine. (ii)+xviii+487+(v) pp. with 2 engr. plates.

54. CATE, PHILIP DENNIS & SINCLAIR HAMILTON HITCHINGS. The color revolution. Color lithography in France, 1890-1900. Santa Barbara & Salt Lake City: Peregrine Smith Inc., 1978

An important exhibition catalogue (Rutgers Univrsity and Boston Public Library) which includes a translation into English by Margaret Needham of AndrÇ Mellerio's 1898 essay La lithographie originale en couleurs. Includes biographies of artists and excellent general bibliography. Out of print and scarce.

4to, orig. color printed wrappers. ix+136 pp with 101 illus of which 32 are in color.

55. CAVE, MADAME MARIE ELIZABETH. Color. Approved by M. Eugene Delacroix, for teaching painting in oils and water-colors. Translated from the third French edition. New York: Putnam & Son, 1869 First American edition. Birren Collection 132.

8vo, orig. cloth. viii+110+(iv)+(ii) pp with two wood-engr. plates.

56. CENNINI, CENNINO. A treatise on painting written by Cennino Cennini in the year 1437; and first published in Italian in 1821, with an introduction and notes by Signor Tambroni...trans. by Mrs. Merrifield. London: Edward Lumley, 1844

Cennini's book was originally written in the fifteenth century and supplies most of our authentic and complete description of early Italian painting techniques and materials, the present work is the first English translation, "of considerable interest". Mayer, The artists' handbook, p.531. It "contains practical directions for painting in fresco, secco, oil and distemper, with the art oif gilding and illuminating manuscripts adopted by the old masters". It also contains important material on the Renaissance theories of color; see Kemp, The science of art, pp. 264-265.

8vo, orig. blue cloth sides with gilt blocking; rebacked in blue morocco gilt, nicely bound. Chromolitho. engr. title +lxx+177 pp. with 9 litho outline plates.

57. CHARPENTIER, AUGUSTIN. La lumiäre et les couleurs au point de vue physiologique. Paris: J. B. Balliere et Fils, 1888

First edition. The author was a professor at the Faculte of Medicine of Nancy. One of a small body of works published in the late nineteenth century exploring the relationship between light, colors and phsiology. Birren Collection 140.

8vo, orig. printed wrappers, uncut. xvi+352 pp. with 22 illus.

THE FIRST APPEARANCE OF CHEVREUL IN ENGLISH

58. CHEVREUL, MICHEL E. Physical investigations on dyeing. On the influence that two colours may exercise upon each other when seen simultaneously. (IN) Works of the Cavendish Society; Chemical Reports and Memoirs, London: for the Soceity, 1848

This is the first English edition of Recherches sur la teinture, Paris, 1847, which was itself a reprint of a report read before the Academy in 1828. It served as the basis for the monumental De la loi du Contraste Simultane des Couleurs (1839). The present work was edited by Thomas Graham, corresponding member of the Institute of France and Professor of Chemistry in University College, London. This English edition is rare and important. This is paper V in the volume and occupies pages 165-238. Ron (Edelstein Catalogue), no. 0210.

8vo, recent green cloth (copying the original). viii+370+15 pp with 2 fdg engr. plates.

A BEAUTIFUL WORK ON NAMING COLORS BY CHEVREUL

59. CHEVREUL, M. E. ExposÇ d'un moyen de dÇfiner et de nommer les couleurs, d'apräs une mÇthode prÇcise et expÇrimentale, avec l'application de ce moyen Ö la dÇfinition et Ö la dÇnomination des couleurs d'un grand nombre des corps naturels et de produits artificiels. (in) MÇmoires de l'Academie des Sciences de l'Institut de France. Tome 33. Paris: Firmin Didot, 1861

First and only edition, a very fine copy of this rare and beautiful work, both volumes preserved in the original wrappers. Because the text volume was never published as a monograph but as volume 33 of the MÇmoires de l'Academie des Sciences de l'Instutit de France, both atlas and text rarely survive together. This is one of the rarest of Chevreul's many publications on color.

A massive work, 944 pages plus the atlas of color plates, Chevreul here diagrammed the variations on a chromatic scale on which, out of the three primary colors of red, yellow and blue, he defined almost 15,000 tones by first placing these three colors on equidistant radii of the circle and interpolating twenty three color mixtures in each of the sectors. He thus obtained a chromatic circle of seventy-two colors representing the entire visible spectrium. This work, and Chevreul's color theory generally, has received much attention from scholars; Martin Kemp on the present work: "Underlying his demonstrations was a precise nomenclature for colour relationships: tons, for tonal value on a scale from black to white; gamme for the tonal scale itself; nuances for the modifications of one hue by the admixture of another; coleur franches for pure, saturated pigments; coleurs rabattues (or rompus) for colours broken with black (or grey). These qualities were graphically demonstrated in a colour wheel to which was attached a quadrant. The wheel shows seventy-four nuances of colour, marked by radial lines, and twenty degrees of tonal gradation, from white at the center to black at the circomference...That his intention was not to deepen the saturated colours to the deepest black but by an unsaturated black is confirmed by the ten tonally graded wheels published in the beautiful Atlas accompanying his EsposÇ d'un moyen... in 1861" (The science of art, p. 306-7). See also Sherman, Colour vision in the 19th century, pp. 68-71. Color Documents 22. Not in the Birren Catalogue. Not in M. Ingerand, Bibliographie de la couleur (Paris, 1984), a good indication of the rarity of this work.

2 vols, both in orig. blue printed wrappers. Text: large 4to, entirely untrimmed and unopened. lxxiii+944 pp. Atlas: Folio. T.p., 1 litho plate (color wheel) and 14 chromo-litho plates printed by the process of Digeon. The first plate is a double-p. folding solar spectrum; the second is a series of three scales showing contrasting hues from white to black and the final 12 are chromatic circles. Color plates printed on India paper.

60. CHEVREUL, M. E. The principles of harmony and contrast of colours, and their applications to the arts...translated from the French by Charles Martel. Third edition, with an additional introduction by the translator, and a general index. London: Henry G. Bohn, 1860

A nice copy. Originally published London, 1854, this was the first complete English edition and the best translation of this great and important book. This edition is most notable for the addition of the 15 color plates (chromolithographs). It was this Martel translation which was chosen by Faber Birren for his reprint edition of 1981 (published by Van Nostrand Reinhold Co). Birren comments: "The British received it with great enthusiasm and later so did America. No other book on color except Newton's Optics went into so many editions over so long a period of time. From first to last it was kept in print for over 25 years."

8vo, 19th century full polished red calf, gilt. xlvi+465 pp. with 4 engr. illus (of which 1 fdg) and 15 color plates.

61. CHEVREUL, M. E. The principles of harmony and contrast of colours, and their applications to the arts. Translated from the French by Charles Martel. Third edition with an additional introduction by the translator and a general index. London: G. Bell & Sons, 1887

This edition has the additions noted in the title. A note to the preface states "It is hoped the book will now be found as perfect as it is possible to make it."

8vo, orig. cloth (spine darkened). xlviii+465+24 pp with 3 fdg. engr. plates (one with folding flap) and 15 chromo-litho plates. Inner hinges weak.

COLOR WOOD ENGRAVINGS BY EDMUND EVANS

62. CHEVREUL, M. E. The laws of contrast of colour: and their application to the arts...translated from the French by John Spanton. New edition, with illustrations printed in colours. London: Routledge, Warn & Routledge, 1860

A very good copy in a splendid decorated binding and desirable as such, in addition to its textual importance. This edition is of special interest both for its color and gilt blocked sunburst binding and for the Edmund Evans color plates. The text as well as the plates deal with painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, illumination, landscape and flower gardening, etc. The plates are printed in colors by Edmund Evans, and are color wood engravings, not chromolithographs. "Most of the prints in the book illustrate the effects of neighboring colors on the appearance of a given hue. Because all the colors were shown in discrete relatively large areas, not overlapping with any other color, these illustrations were particularly suited to Evans's method of color printing." - Friedman, Color printing, n. 106. Abbey, Life, 107. McLean, p. 82. Birren Collection 148.

Small 8vo, orig. gilt blocked dec. cloth with red and gold triangle on cover surrounded by sunburst of gilt lines, spine with title and decorations in gilt blocking. xvi+237 pp with 17 plates, of which 16 printed in colors. Tiny area with loss of cloth upper corner of spine; but a very good copy.

63. CHEVREUL, M. E. The laws of contrast of colour and their applications to the arts and manufactures. Translated from the French by John Spanton. London: George Routledge & Sons, 1883 This translation was originally published in the late 1850s; the present is the third edition. "The present edition has been entirely revised; some obscurities cleared up, and a chapter on military clothing added." The plates were printed in colors by Edmund Evans, and are color wood-engravings, not chromolithographs. Birren Collection 148. This is a fine bright copy.

Small 8vo, orig. dec. cloth. xvi+243 pp with 17 plates of which 16 printed in colors.

THE OPTICAL PRINCIPLES OF WATERED SILK

64. CHEVREUL, M[ICHEL] E[UGENE]. Theorie des effets optiques que presentent les etoffes de soie. Paris: Firmin Didot, 1846

First edition, in the original printed wrappers, untrimmed, of one of Chevreul's major works. "Under the auspices of the Chamber of Commerce of Lyon he studied the optical effects shown by various fabric constructions of silk and developed a theory for explaining these effects based on a system of parallel cylinders combined with his previous ideas of color contrast." - Edelstein, Historical notes on the wet processing industry, p. 30. The color plate in his book explains the cylinder idea. Honeyman 683. British Opt. Assoc. Cat. II, p. 21. Edelstein 2927. Birren Collection 154. Uncommon in the marketplace, only two copies appear in the auction records in the past dozen years.

8vo, orig. printed wrappers. Untrimmed copy. 208 pp. with 1 fdg. chromolitho plate printed by Lemercier. Old rubber stamp on verso of title page: "Chambre de Commerce de Lyon."

65. CHURCH, A. H. Colour. London, Paris & New York: Cassell, Petter & Galpin, n.d., [c. 1890] Originally published 1871. A general handbook emphasizing the imortance of the sensations of light on the retina. All of his theory is based on prevailing beliefs; he acknowledges Chevreul, Clerk-Maxwell, Helmholtz, W. Benson, W. von Bezold and Rood. Birren Collection 156. Wurmfeld, Color documents, no. 29.

12mo, orig. cloth. 112 pp. with 34 illus of which 5 are full page chromolithos. Nice copy.

66. COLIBERT. Terra cotta painting, with practical notes on mixing colours. London: William Barnard, n.d. [ca. 1880]

An instruction book for the mixing of colors by artists and ceramic painters. Bound at the end: "Priced catalogue of colours and materials for painting, drawing, etc."

12mo, orig. printed wrappers. 10+22 pp., illus. Spine mended with cellotape.

67. CONNICK, CHARLES J. Adventures in light and color. An introduction to the stained glass craft. Foreword by Charles D. Maginnis, F.A.I.A. New York: Random House, 1937

First edition. An impressive book with a fine series of 42 color plates which have been tipped in against black backgrounds. Included in Chamberlin's Guide to Art Reference books: "A rather chatty book by one of the recognized practicioners of the art today. Valuable for techniques. 'How to share a glass-man's holiday', pp. 267-377, lists where important glass may be found in churches and museums in Europe and America." - #1801. Also includes important bibliography, pp. 378-91. Duncan 2647.

Small folio, orig. cloth, paper labels on spine and front cover. xviii+428 pp. with 42 tipped in color plates and 48 collotype plates as well as numerous text illus.

68. CORNELL, GRACE. Color. Boston: Carter's Ink Co., 1934

First edition. The author was a noted artist; "her contributions to art in industry have been many and valuable and her standing as a nationally known authority in the color field is widely recognized." This booklet is something of an art object itself; it was printed in 27 colors by the Stetson Press at Boston. The color pages have been produced by the "Brush-tone" process using actual Carter's VelVet tempera colors. Not in the Birren Catalogue.

8vo, orig. color printed wrappers. 24 pp. with 22 illus, mostly printed in bold colors.

69. COTT, HUGH B. Adaptive coloration in animals. London: Methuen & Co., 1940

First edition. The author was a lecturer in zoology at Cambridge University. Introduction by Julian S. Huxley. There is a long tradition of the study of color in animals; it began with Moses Harris in the eighteenth century with a study of the coloration of insects. Other works on this subject in this collection include books by Gerald Thayer, Edward Poulton, Frank Beddard, Daniel Girard Elliott, etc. The present work is a model of scholarship; it inlcudes no less than 685 items in the bibliography.

8vo, orig. cloth. xxxii+508 pp. with color frontisp and 48 plates of halftones. Inner hinges weak; old bookplate and rubber stamp.

70. [COZANET, ALBERT]. D'UDINE, JEAN (pseud). L'orchestration des couleurs. Analyse, classification et synthese mathmatiques des sensations colorÇes. Paris: A. Joanin, 1903

First edition. Jean d'Udine is a pseudonym; the author's real name was ALBERT COZANET. As is often the case with color books, the physical format here is interesting; this work is illustrated with 10 chromolithographic plates hors texte - here they are separately printed on light weight card stock and inserted inside the front cover. D'Udine was a prolific writer on music as well as color. Not in the Birren Collection. NUC locates 6 copies (under Cozanet).

8vo, orig. printed wrappers. 216 pp. with 50 text illus and 10 plates as described above. Untrimmed and unopened.

71. CRACE-CALVERT, F[rederick]. Dyeing and calico printing; including an account of the most recent improvements in the manufacture and use of aniline colours...illustrated by John Stenhouse and Charles Edward Greaves. Manchester: Palmer & Howe; London: Simpkin; New York: Wiley, 1876

First edition. A standard work, scarce, and of especial interest for the 56 large mounted examples of dyed fabric samples. The author, a Fellow of the Royal Society, died in 1873 at the age of 54. Bolton I, p.380, listing only the second edition. Edelstein 2885. Not in Lawrie. The samples are all present and in fine bright condition; the preface lists the firms who supplied them.

8vo, original cloth, chip in head of spine. xxxii+509+iii pp. with fdg. table, 14 wood-engr. illus. and 56 mounted fabric samples.

72. CROOKES, WILLIAM. A practical handbook of dyeing and calico printing. London: Longmans, Green & Co., 1874

First edition of this standard and important work, carrying on in the footsteps of Bancroft, O'Neill, Parnell, Napier, etc, but taking into account all the new discoveries in the chemistry of dyeing, especially the coal tar colours. Lawrie 135. Suprisingly, this title is not in the remarkably complete Edelstein collection. Faber Birren Collection 188.(O).

Thick 8vo, old cloth, leather lettering piece. xvi+730+(1)+28 pp. with 36 wood-engr. illus., 11 full-p. plates and 47 actual mounted specimens of dyed and printed fabrics. Ex-lib., old rubber stamp on t.p. but a good copy.

73. CUTLER, CARL GORDON & STEPHEN C. PEPPER. Modern color. Cambridge: Harvard University Press, 1923

First edition, author's presentation copy inscribed 'Hope Gladding from Stephen C. Pepper March 1923.' This was a book for painters and artists and included a description of 'Cutler's Color Scale.' Birren Catalogue 190.

8vo, orig. cloth in d.w.163 pp. with 5 text illus of which 3 colored.

74. DAUTHENAY, HENRI and RENE OBERTHUR. Repertoire de couleurs, pour aider a la determination des couleurs des fleurs, des feuillages et des fruits. [Paris?]: La Societe Francaise des Chrysanthemistes, 1905

First edition of this scarce work on color nomenclature, given a good note by Robert Herbert: "At the turn of the century, the new processes of photo-lithography had come into their own and still retained a delicate physical thickness of surface that affords a tactile pleasure not found in photo-offset. The natural color standard produced by Oberthur and Dauthenay in 1905 has this handsome appearance (the authors record the long tribulations leading to the successful printing)." - Yale Library Gazette, July 1974, p. 10. Birren Collection 589.

2 vols. 4to, in orig. printed flap edged portfolio cases. I: [1-8], 9-82 pp. 182 [i.e. 184] photo-litho plates. II: 183 photo-litho plates. Plates numbered consecutively 1-365. The cases only are faded; contents fine.

COLOR PLATES OF GRAINS & MARBLES

75. DAVIDSON, ELLIS. A practical manual of house-painting, graining, marbling and sign-writing containing full information on the processes of house-painting in oil and distemper, the formation of letters and practice of sign-writing, the principles of decorative art, a course of elmentary drawing for house-painters, writers, etc. London: Crosby Lockwood, 1904

Originally published about 1870; this is the ninth edition and a good copy complete with the 9 chromo-lithographs of woods and marbles. Not so long ago a fairly common book, this is now quite scarce.

8vo, orig. cloth. xxi+394+40 pp with 114 text illus and 9 chromo litho plates.

76. DEVOE & RAYNOLDS CO. INC. Service color chart. New York, 1925

A pocket sized stiff card color chart with spinning wheel to enable the user to work out color harmonies for personal dress, for home decoration, design, etc.

12mo, 4 pp printed on stiff card stock. Circular black plastic spinning wheel.

77. DOVE, H[EINRICH] W[ILHELM]. Darstellung der Farbenlehre und optische studien. Berlin: G. W. F. Muller, 1853

First edition, a fine clean copy of a classic of color theory. H. W. Dove (1803-1879) had studied at the University of Breslau with Brandes. He did important work in metereology and physics (see DSB). His science of colors took an historical approach. He discusses the theories of his illustrious forerunners: Newton, Huygens, Goethe, Young, etc. Includes chapters on light discussing polarization and absorption. Also the stereoscope and the apparatus needed for its application. The plates depict the apparatus designed by Dove for his experiments. Dove also did important work in the field of color sensitometry and stated the principle of tube photometers (see Eder, Hist of Photography, p. 452). Darmstadter 516. Poggendorff, III, 375. Sutcliffe, Brit Optical Assn Cat., p. 56 with note. Not in the Birren catalogue.

8vo, orig. cloth. viii+292 pp. with engr. frontisp and 2 fdg. plates. Very nice copy.

78. DU PONT DE NEMOURS & CO. INC. The dyeing of leather. Prepared by F. P. Howden. Wilmington, Del., 1924

An interesting book written to assist the tanner in a proper selection of colors. Five plates with a total of 30 mounted samples give formulas for shades on Querbracho tanned sheepskin, sumac tanned sheepskin, chrome tanned goatskin, chrome tanned calfskin and ooze calfskin.

8vo, orig. boards. 39 pp with 5 plates with 30 mounted leather samples. Spine and part of rear cover are faded from old dampstains but the book itself is internally clean.

"JUSTLY FAMOUS FOR ITS BEAUTY..."

79. EARHART, JOHN F. The color printer. A treatise on the use of colors in typographic printing. Cincinnati: Earhart & Richardson, 1892

First and only edition, one of my favorite books in the whole range of 19th century color printing. "Justly famous for its beauty and utility...in marvelous plates often hinting of Art Nouveau, Earhart offered demonstrations of color-mixing, color-harmonies, and color printing in its various phases and recorded the actual proportions of inks used. Vignettes, letters, designs, and a whole variety of plates are rendered in most of the common color processes, and some of them are embossed." - Herbert, Yale Lib. Gazette, July 1974, p. 16. "[Earhart's] book, over which he laboured for more than four years, was intended "as a practical guide to all printers who desire to obtain the most artistic results in ornamental Colour Printing by the least amount of labour and expense"...The greater part of the colour plates (which required 625 formes and 1,625,000 impressions for their production in a small edition) are used to demonstrate tints of varying strength and their combination with other tints...all the plates, which included specimens of embossing, printing in gold, rainbow printing, map printing, impressions from emery paper and various woods, were meticulously printed." - Vivian Ridler, "Artistic printing: a search for principles," Alphabet & Image, 6. Wurmfeld, Color documents, 37. Birren Collection 213. The work was well known to printers in England and is one of the few American manuals included in Bridson/Wakeman (C117).

4to, orig. half morocco. 137 pp with 90 plates printed in color with 403 different examples of printing. Signed by the author. Front hinge rubbed but strong. A good copy.

80. EARHART, [JOHN FRANKLIN]. The Earhart color plan. Cincinnati: the author, n.d. [ca. 1910] First edition, rare. "More direct printing processes with yet thicker inks could nontheless produce more saturated colors. The Earhart color plan of about the same year (1905-10) has eight detached color charts in a platen printing process, which can be slipped in and out of a sturdy perforated case. The pattern of colors shown in the apertures conforms to basic lessons in color harmony, the whole (user's movement included) constitutiong an unconscious parallel to the machine world, as though the twentieth century were being greeted at its outset by a book-machine." - R. L. Herbert, Yale Library Gazette (July 1974), p. 10. Birren Catalogue 214.

Tall 8vo, stiff card case with 12 apertures for viewing the sliding color cards. Folded sheet of directions (5 "pages") and 8 color cards. Printed by the Feicke Printing Co., Cincinnati. Excellent condition.

A VERITABLE RAINBOW

81. EARHART, JOHN F. The harmonizer. Cincinnati: Earhart & Richardson, 1897

First and only edition, a good copy of an extraordinary and very rare book, intended to demonstrate proper technique and correct ink color choice for printing on colored stock. Every one of the 240 pages is printed on a different colored stock in varying colors of ink. Given high praise by the always perceptive Robert Herbert: "Among books which are themselves exemplars of unusually beautiful printing, Earhart stands out. The harmonizer (1897) has extraordinary platen-press work of varied design, based upon twelve pure inks, and twenty-four more derived from mixtures of the initial group." - "A color bibliography II," Yale Lib. Gazette, (1978), p. 134. The work was printed with inks made by the Ault and Wiborg Co. of Cincinnati on four Colt's Armory presses. Birren Collection 215. Not in the Burke Printing Collection. Not in Romaine. Not in McKinstry.

8vo, orig. cloth. 7 pp of text, 2 plates of ink colors and 240 "plates". Final leaf of letterpress colophon.

WITH 30 NAMED COLOR SAMPLES

82. ELLIOT, DANIEL GIRARD. The gallinaceous game birds of North America. New York. Francis P. Harper, 1897

First edition; published in New York and London simultaneously. Highly interesting for the color chart inside the rear cover, which is actually a series of 30 sheets of named colored papers "intended to assist readers to identify the various colors mentioned in this work." This work falls into a category of nature books which give their own systems of color nomenclature; others are mentioned by R. L. Herbert in his "Color bibliography" in the Yale Library Gazette (July 1974), pages 8 and 25. The Elliot book is not well known in the literature of color as the color samples are not obvious and are not mentioned on the title page.

8vo, orig. dec. cloth, spine a bit soiled. 220+iii pp with 46 plates in halftone and 30 sheets of named colors. T.p. with old library stamp.

DALTONISM

83. FAVRE, DR. A. ReformÇ des employÇs de chemin de fer affectÇs de Daltonisme. Lyon: Vingtrinier, 1873 John Dalton (1766-1844) published the first scientific description of color-blindness, or "Daltonism." Dalton himself suffered from red-green blindness. Color blindness became an occupational hazard, especially for railway workers (see below under Holmgren) and was given much attention by phyiologists in the later 19th century. Dr. Favre had worked on the subject for more than twenty years. His paper is illustrated by a particularly appealilng double page folding color litho plate.

8vo, orig. printed wrappers. 23 pp with one double-p. fdg. litho plate.

84. FER, EDOUARD. Solfäge de la couleur. Preface de Yves Le Grand. Paris: Dunod, 1953

First edition. The author was a painter "de tres grande talent" according the preface; the work contains approbrations from Guiliame Apollinaire and Paul Signac. He deals with "les principes fondamentaux du mÇlange scientifique des lumiäres colorÇes et du mÇlange thÇorique des couleurs." The color plates are simply stunning. Not in the Birren Catalogue. Indergand no. 36.

4to, spiral bound, orig. printed stiff card stock covers. (viii)+28 pp with 15 color plates (of which 1 double-p. and 4 with additional leaves of letterpress) plus 2 final leaves of ads.

FIELD'S FIRST BOOK ON COLOR

85. FIELD, GEORGE. Chromatics or, an essay on the analogy and harmony of colours. London: Printed for the author by A. J. Valpy, 1817

First edition of the author's first publication on color. George Field (1777?-1854) was well known as a writer on color theory, artists' pigments and as a color maker. This title is not listed in the bibliography of his writings in the D.N.B. though it is mentioned in R. D. Harley, Artists pigments, p. 27. The Birren Catalogue cites only a later edition of 1845 (233). Wurmfeld, Color documents, no. 23 also cites only the edition of 1845. A new exhibition catalogue puts Field into much sharper focus: John Gage, George Field and his circle (Fitzwilliam Mus., Cambridge), 1989, where the present work is no. 45. All of the above not withstanding, perhaps the major importance of this work is its place in the area of color music, of which Field was the principal exponent in the first half of the nineteenth century. Professor Herbert explains: "Field had inherited from the late 18th century the two common forms of color schemes, the circle and the triangle. Each shape permitted a continuous zone of color around a center, so that the primaries could be symmetrically disposed with the secondaries between them, and with complimentaries (red-green, yellow-purple, blue-orange) opposite one another, while light/dark could be shown in lateral progression from the center outward. Field combines the two in very beautiful plates which show two triangles (the three primaries and the three secondaries) overlapping a common central circle and surrounded by large rings of the three primariles...A musical clef is part of their presentation, for Field insists upon the interrelationships of music, color and geometry which reflect, he tells us, "a universal archetype," the underlying harmony of the universe." - Yale Library Gazette (July 1974), pp. 17-18. NUC locates 6 copies.

4to, orig. boards, rebacked. viii+57+ii pp. 15 text illus (of which 13 hand colored) and 6 full-page hand colored plates. Untrimmed copy.

86. FIELD, GEORGE. Chromatography; or a treatise on colours and pigments, and their powers in painting, &c. London: Charles Tilt, 1835

First edition of the most influential work on pigment chemistry written in England in the early 19th century. "In many ways, the most useful literary source concerning pigments rather than painting of the period is Field's Chromatography, published in 1835...The first part of Chromatography is concerned with colour theory, followed by a section in which the nature and composition of individual pigments are discussed. The last part contains some comments on oils, varnishes and picture cleaning...From an historical point of view an important feature of the first edition is the inclusion of a large number of pigments, no matter how obscure, so that the book fills the gaps left by most of the early 19th century books on painting." - R. D. Harley, Artists' pigments, pp. 27-28. See also Weinreb Cat 39:103 for a good note by Priscilla Wrighson. The catalogue of the Birren Collection at Yale does not include this first edition. Abbey, Life, 123. The work also contains important material on conservation (see Ruhemann/Plesters, p. 386). The final chapter discusses and illustrates some new optical instruments (the chromascope and the metrochrome). There were a number of later editions (see below); this first edition is rare. NUC locates seven copies of this edition.

Small folio, later 19th century full roan, neatly rebacked. xix+276 pp with hand-col. engr. frontisp and 1 engr plate.

INCLUDES IMPORTANT MATERIAL ON CONSERVATION

87. FIELD, GEORGE. Chromatography. A treatise on colours and pigments and of their powers in painting. New edition, improved. London: Winsor & Newton, n.d. [ca. 1845]

Originally published 1835. This was the most influential work on color chemistry written in England in the early 19th century and by 1885 it had run, in various forms, to ten editions. This edition differs from the first and omits the plate of optical instruments but adds three hand colored text illustrations. "In many ways the most useful literary source concerning pigments rather than painting of the period is Field's Chromatography, published in 1835...[It] provides a suitable close to the survey of literary works, not merely by virtue of the fact that it lists the range of colours available in 1835, but because in it the author shows a responsible concern about the durability of colours which largely gave rise to later editions of the book by others and so prepared the way for scientific works on colour chemistry in the late 19th century." - Harley, Artists pigments, pp. 27-8. Also contains important material on conservation (see Ruehmann/Plesters, p. 386). See J. Gage, George Field and his circle, (1989), no. 18 for a long and highly informative note on this book and its various editions.

8vo, orig. cloth, spine faded, dull. xviii+424+1 pp. with hand-col. frontisp and 3 hand-col. text illus. T. p. foxed.

88. FIELD, GEORGE. Field's Chromatography. A treatise on colours and pigments for the use of artists. Modernized by J. Scott Taylor. London: Winsor and Newton, 1885

George Field (1777?-1854) was a manufacturer of pigments and author of works on chromatic science; he was the subject of an exhibition and catalogue at the Fitzwilliam Museum, Cambridge, in 1989. Of the present work the preface states: "This book is, to some extent, a condensed and revised issue of Field's Chromatography, and is based on the last edition by Mr. T. W. Salter." This edition contains 4 chromolithographic plates and is cited in S. Wurmfeld, Color documents, no. 25. NUC locates three copies.

8vo, orig. cloth, gilt blocked front cover. viii+207+ii pp. with 4 chromo litho plates. A very nice copy.

89. FIELD, GEORGE. Rudiments of the painters' art, or a grammar of colouring, applicable to operative painting, decorative architecture and the arts. With coloured illustrations and practical instructions concerning the modes and materials of painting, etc. London: John Weale, 1850

First edition. "The only other version of [Chromatography (1835)] published during Field's lifetime was a radical abridgement issued in 1850 under the title Rudiments of the painters' art..." (Gage, George Field and his circle, 1989, no. 18). The bulk of the book is devoted to a discussion of pigments (pp. 12-113). Arranged under primary, secondary, tertiary and semineutral colors; the final chapters discuss varnishes, oils, vehicles, cleaning, restoring, removing paints, etc. Birren collection 236.

Small 8vo, original cloth, printed paper label on cover. viii+170 pp with 6 plates of which 4 colored (1 by hand, the others color printed). Nice copy.

90. FIELD, GEORGE. A grammar of colouring applied to decorative painting and the arts. Revised, enlarged, and adapted to the use of the ornamental painter and designer...by Ellis A. Davidson. Fourth edition. London: Crosby Lockwood, 1888

The Davidson edition was originally published 1874. This is in fact more Davidson than Field; the original text has been added to and rearranged, and the editor's plates substituted for Field's. The text contains "additional sections on painting in sepia, water colours and oils ... " The bulk of the work, however, still deals with pigments. Birren Collection 235. Wurmfeld, Color documents, no. 24.

8vo, orig. cloth, spine dull, remains of orig. paper label. xvi+224+32 pp. with 2 chromolithograph plates and 38 wood-engr. illus.

91. FIELDING, T. H. On painting in oil and water colours, for landscape and portraits; including the preparation of colours, vehicles, oils, etc., methods of painting in wax or encaustic; also on the chemical properties and permanency of colours, and on the best methods of cleaning and repairing old paintings, etc. London: Published for the author by R. Ackermann & Co., 1839

Fine copy of an important book, this deals systematically with both oil painting and water color painting. In his preface Fielding remarks on 'the very small number of practical treatises on Oil Painting that have appeared in the English langauge during the last fifty years...on the other hand, works which treat on painting in water-colours have been so multiplied that noone can complain of their scarcity.' The work covers in detail the uses of colors and their properties, with many references to Field's writings (see items above), and has chapters on portrait painting, backgrounds, varnishes and oils, painting surfaces and picture restoration. The frontispiece is a colored aquatint of palettes prepared with oil paints and a selection of brushes. Gilpin to Ruskin: drawing masters and their manuals 1800-1860, no. 47. NUC locates 3 copies.

Large 8vo, orig. boards, cloth spine, neatly rehinged, new paper label on spine. viii+159+(i) pp of adverts with 10 plates of which 4 hand-colored containing many small illustrations in aquatint and mezzotint.

92. FISCHER, MARTIN. The permanent palette. Mountain Lake Park, Maryland: National Publishing Society, 1930

First edition. The author began painting because he had a "scientific interest in the materials of which pictures are made and the principles underlying their production." Chapters include the causes of non-permanence, choosing a palette, light and pigment mixture, the whites, the blacks, the colored pigments, the transparent pigments, apparently safe "earth" pigments which are to be avoided, the natural and synthetic lakes, other particulate pigments, painting foundations and grounds, the media used in oil painting, etc. Mayer, The artists handbook, p. 695. About one half of the book is devoted to describing pigments and colors.

8vo, orig. cloth in d.j. xiv+134 pp with 4 plates in color.

93. FRIEDMAN, JOSEPH S. History of color photography. Boston: American Photographic Publishing Co., 1944

First edition. "An indispensable supplement to E. J. Wall's History of three color photography, particularly valuable for its extensive analytical treatment of patent disclosures." - Boni.

8vo, orig. cloth. x+514 pp. with 109 illus.

94. FULLER, W. P. & CO. Catalogue F. Paints, oils, varnishes, brushes and glass. San Francisco, ca. 1910 A massive trade catalogue of paints and colors, it contains hundreds and hundreds of paint chips (surely more than any other trade catalogue we have ever had). Under section I, Paints and Colours, are the following: mixed paints, leads, putty, oil colors, distemper colors, Japan colors, wood fillers, dry colors, wall finishes, cold water paints, dry wood stains. This is only section one; there are four other sections to the cataogue.

Thick large 8vo, orig. cloth, bound with two steel screws. Paginated in series, ca 700 - 1000 pp. with hundreds of paint chips and other illus.

95. GARDNER, F. B. Everybody's paint book. A complete guide to the art of outdoor and indoor painting. New York: M. T. Richardson, 1886

Originally published 1884, this was an immensly popular work. It consists of "practical lessons in plain painting, varnishing, polishing, staining, paper-hanging, kalsomining, etc. as well as directions for renovating furniture, and hints on artistic work for home decoration together with a full decription of the tools and materials used. Precise directions are given for mixing paints for all purposes."

8vo, orig. cloth. iv+186 pp (the last 3 of which are ads) with 38 text illus. Spine faded else a nice copy.

96. GAY, R. & CO., LTD. A record of colour. Specimens and prices of impenetrable paint, Etruscan paint, Tegoline enamel, Impenetrable damp-proof solution. London, ca. 1905

A fine copy of a rare trade catalogue complete with the mask which was loosely laid in. Gay & Co. supplied the paints which were used on the whole of the outside of Buckingham Palace in 1895; they lasted well until 1905 when the palace was again painted with Etruscan paint. All of the samples (95 of them) are present in fine condition.

8vo, orig. printed cloth. 46 pp with 95 mounted samples and loose mask of black card stock laid in.

97. [GERSTACKER, DR. LUDWIG]. Das Farbenmischbuch. Zwickau: Foster & Borries, 1934

A sample book of color printing. The introduction by Dr. Gerstacker is 6 pages; the remainder of the book is devoted to color proofs of mixed colors in halftones. At the end there are several examples of 3 and 4 color printing and 3 color circles. Birren Catalogue 228. Noted by Professor Herbert: "Many color plates in 'Nagra-Farben' giving range of hues and and examples of application."

8vo, orig. boards, linen spine. x+143+7 final color plates (one double-page). Color plates on coated paper.

98. GODON, JULIEN. Painted tapestry and its application to interior decoration. Practical lessons in tapestry painting with liquid colour. London: Lechertier, Barbe & Co., 1879

First edition in English. An appealing book, translated from the French by B. Bucknall, architect. Of particular interest are the plates: they are colour printed on a thick canvas like paper with a slight corrugated relief to simulate cloth tapestries.

8vo, orig. cloth, gilt. xviii+89 pp. plus 26 pp. catalogue of artists' materials with 6 plates.

COLOR THEORY CLASSIC

99. GOETHE, [J. W. von]. Goethe's theory of colours, translated from the German: with notes by Charles Lock Eastlake. London: John Murray, 1840

This is the first edition of the first English translation of the famous Farbenlehre. "For a profoundly creative and challenging response to Goethe's science by a painter of real genius we have to look to Britain, to the art of Turner. Turner was almost seventy by the time he made his detailed study of Goethe's Farbenlehre in Charles Eastlake's 1840 annotated translation, but his response was not that of an old man rigidly set in his ways. Two complex paintings of supreme quality were the remarkable result of his 'dialogue' with Goethe. His immediate reactions on reading Goethe's treatise are contained in a series of marginal notes in his copy, ranging from approbatory references to terse exclamations of disagreement. 'Poor Dame Nature' he wrote, when he felt that Goethe was doing less than justice to the ultimate source of all visual beauty. He was attracted by much of what the German author was saying, particularly with respect to the integral relationship of colour and tone, but suspicious of the more rigid prescriptions and hesitant in the face of the anti-Newtonian polemics...(Kemp, The science of art, p. 299). See also R. L. Herbert, Yale Library Gazette, (July l974), pp. 6-7. Buckley, Color theory, p. 128. Babson 151. Birren Coll. 271. Not in Edelstein. Not in Wurmfeld, Color documents. Ruhemann/Plesters, p. 457 with an interesting note. Finally, see D. Robertson, Sir Charles Eastlake and the Victorian art world, pp. 1978, pp. 54-55.

8vo, 19th cent. half polished calf. xlviii+423+4 pp with 4 hand-colored plates.

100. GOETHE, JOHANN WOLFGANG VON. Theory of colours. Translated from the German with notes by Charles Lock Eastlake. Introduction by Deane B. Judd. Cambridge, Mass: M.I.T. Press, 1970

The introduction by Judd is excellent and not available elsewhere.

8vo, orig. stiff wrappers. lxii+423 pp. with 4 colored plates on coated paper.

101. GOETHE, [J. W. von]. Goethe's color theory. Arranged and edited by Rupprecht Matthaei. New York: Van Nostrand Reinhold, 1971

"English edition translated and edited by Herb Asch. With a complete facsimile reproduction of Charles Eastlake's 1820 (sic), translation of the "didactic part" of the Color Theory." This is a definitive edition; Matthaei was director of the Goethe archives at Weimar, and spent many years analyzing Goethe's theory of color. A handsome well printed and illustrated book.

4to, cloth in d. w. in glassine. 275 pp. with 137 illus., many in color. Old library call slip on front flyleaf; small rubber stamp but not marked otherwise.

102. GOETHE, [J. W. von]. Oeuvres scientifiques de Goethe analysÇes et appreciÇes par Ernest Faivre. Paris: Hachette, 1862

About one third of the book deals with Goethe's color theory. As follows: Chapter IV: TraitÇ des couleurs; partie didactique; Chapter V: TraitÇ des couleurs, suite de la partie didactique; polemique contre Newton; critique de la doctrine de Goethe; partisans et adversaries du traitÇ des couleurs; Chapter VI: TraitÇ des couleurs, partie historique; Chapter VII: Ecrits de Goethe sur les couleurs entoptiques et sur l'arc-en-ciel; ses Çtudes mÇtÇrÇologiques. Nice copy in the original red quarter morocco binding.

8vo, orig. quarter morocco. iv+444 pp. with occas text illus and 4 plates hors texte.

103. GRAVES, MAITLAND. The art of color and design. Second edition. New York: McGraw Hill, 1951 An attempt at reestablishing first principles. Intended for all practicioners of the "space arts" - illustrators, photographers, nonrepresentational painters, sculptors, architects, decorators, industrial designers, art instructors and their students. About half the book is devoted to color. Not in the Birren catalogue (which does include another title by Graves).

4to, orig. cloth. xvi+438 pp. with numerous illus (a few of which are colored). Printed on good quality coated paper.

104. GREEN, N. E. Hints on sketching from nature. Part I: [General]. Part II: Light and Shade; III: Colour. Eighth edition. London: Geo. Rowney & Co., [ca. 1867]

One of many 19th century artists manuals, all of which dealt to some degree with the subject of color. This one devotes all of the third section (68 pages and 8 color plates) to color; topics discussed include primary colors and their combinations; qualities of colours; mixing broken tints; contrast and harmony; color in landscape; balance in colour, etc. Bound at the end is a separate work: Aaron Penley, A system of water color painting. And behind that a 54 page catalogue of Rowney's art supplies.

2 vols in one, old half calf. 54+40+68+64+54 pp with 16 litho plates and 8 color litho plates. Some pages loose in binding.

105. GRIFFITS, THOMAS E. Colour printing. A practical demonstration of colour printing by letterpress, photo-offset lithography and drawn lithography with illustrations demonstrating alternative methods of production and including a comprehensive colour chart. London: Faber & Faber, 1948

A handsomely printed two volume work, the second "volume" actually a boxed set of folded sheets showing the successive phases of letterpress, photo-lithographic and hand-drawn lithographic printing. The final sheet shows the effects of six different blacks on overprinted colors as well as two colors overprinted and three colors overprinted. This final sheet includes a stop for isolating the six blacks on the color chart. Birren Catalogue 286.

Large 8vo, 2 vols in original slipcase with leather spine label. I. xii+35 pp. II. 10 fdg. color printed charts and perforated card in slipcase. Fine set.

106. GUIGNET, CH.-ER. Les couleurs. Ouvrage illustrÇ de 36 gravures et de 18 planches en couleurs. Paris: Librairie Hachette, 1889

First edition. A fine copy of this basic manual by a disciple of Chevreul. It is part of the series "Bibliohteque des Merveilles." The color lithographic plates are well done and illustrate color contrasts and relationships. Birren Catalogue 288.

8vo, half polished morocco. (vi)+273 pp. with 36 text illus and 18 chromolitho plates.

107. GUILLEMIN, AMEDEE. La lumiere et les couleurs. Paris: Hachette & Cie., 1875

Second edition. Basically a work of popular science; chapters on light and shadow, the speed of light, reflection, refraction, sources of light, polarization, colors of solids, flames, of opaque bodies; classifications of colors, etc. Ingerand, Bib de la couleur no. 1117 cites the third edition.

12mo, orig. printed wrappers, cover wrapper printed in color. viii+ 302+2 pp. with 71 text illus. Untrimmed copy.

"THE BEST HISTORY EVER WRITTEN OF THE SCIENTIFIC THEORIES OF COLOR"

108. HALBERTSMA, K. J. A. Dr. A history of the theory of colour. Amsterdam: Swets & Zeitlinger, 1947 First (and as far as I know) the only edition, and rare. Of this work Robert Herbert has written: "The best history of color theory ever compiled, although the section devoted to the 20th century concentrates heavily upon opthamology." - Yale Library Gazette, "A color bibliography II, 1978. The author was an oculist at the Hague (Holland). Birren Catalogue 292.

8vo, orig. boards, cloth spine. 267 pp with 11 text illus and occas charts and graphs. Excellent bibliography.

109. HARDY, ARTHUR C.(ed). Handbook of Colorimetry prepared by the staff of the Color Measurement Laboratory, Massachusetts Institute of Technology. Cambridge: The Technology Press (M.I.T.), 1936

Colorimetry was developed only in the early twentieth century; it was a scientific method of measuring colors. "This handbook is concerned with the basis for the interpretation of the data obtained from physical measurements of colored materials, which may be expressed either in purely physical terms or in terms of the response to the normal observer as defined by the International Commission on Illumination in 1931."

Folio, orig. cloth. (vi)+86 pp with 24 tables and 23 charts.

110. HARRISON, HENRY. Instructions for the mixture of water-colours, adapted to the various styles of miniature painting; and also to landscape, flower and fruit painting. To which is added the elements of painting in water colours. Third edition. London: J. Souter, 1833

Originally published 1830 (see UCBA, I, p. 790). Fine copy of a very uncommon little treatise. Lucas, Bibliog. of water colour painting, no. 271.

12mo, orig. cloth, printed paper label on cover. viii+40 pp.

111. HARTRIDGE, H. Colours and how we see them. London: G. Bell & Sons, Ltd., 1949

First edition. The Christmas Lectures at the Royal Institution in 1946, intended, apparently, for boys and girls but of serious content. Hartridge was an M.D., Sc.D, etc. and professor of physic and physiology. Well illustrated with 12 color plates. Not in the Birren Catalogue.

8vo, orig. cloth. xii+158 pp. with 39 text illus and 12 color plates.

112. HATT, J. ARTHUR H. The colorist, designed to correct the commonly held theory that red, yellow and blue are the primary colors, and to supply the much needed easy method of determining color harmony. Together with a system of color nomenclature. Third edition. New York: Van Nostrand, 1925

Originally published 1908. "The book contains, for the first time in color literature, either scientific or artistic, a complete unity between science and practice, as well as a concise and consistent law for color harmony and beauty in color." Not in the Birren catalogue. A very fine copy with the two masks still bound in at the rear (these were intended to be cut out and used with the color circle).

8vo, orig. cloth. xv+84 pp. with 2 color plates, hors texte, (both color circles) and the two masks as noted above.

113. HAY, D. R. The laws of harmonious colouring, adapted to interior decorations, manufactures, and other useful purposes. Third edition. Edinburgh: Wm. & Robt. Chambers, 1836

Originally published 1828, this was Hay's first book; it went through at least six editions. Hay was a prolific writer on color (a list of his titles, some 15 of them, is given in the DNB) and he was also house painter and decorator to the Queen, Edinburgh. The history of the several editions of this book is complex and interesting: 1st, 1828, unillustrated. 2nd, 1829, unillustrated. For the third, 1836, there were three states (1) illus with uncolored diagrams in text (2) 5 plates hand-colored; (3) 5 plates made of pasted-on color chips [as in the present copy] 4th, 1838, 5 plates made of pasted-on color chips. 5th, 1844, same as ed. 4. And finally, 6th, 1847, color frontisp only, but copies exist with both hand coloring and with pasted on color chips. This history is worked out from our having had more than a dozen copies of various editions over the past 25 years. Birren Catalogue 304 lists the edition of 1844.

8vo, orig. cloth, printed paper label on front cover, inner hinges cracked. viii+72 pp. with 5 colored plates made from pasted on triangles of colored papers and 8 text diagrams. With the bookplate of Pamela and Raymond Lister.

114. HAY, D. R. The laws of harmonious colouring adapted to interior decorations with observations on the practice of house painting. Sixth edition. Edinburgh & London: William Blackwood & Sons, 1847

Originally published 1828. The colored diagrams have now been reduced to one, "yet that one contains all the colours of which the various diagrams in the former editions were composed, more correctly balanced as to their relative powers, and more permanently secured against change." The entire text has here been re-written; the second part, "On the practice of house painting" is new. It is of much value to the preservationist and restorationist. As the title suggests, Hay's special concern as House Painter and Decorator to the Queen was for the problems of his own profession, whose task was made all the more difficult by the variable lighting conditions in a room, the three dimensionality of the architectural space, and the fashionable caprices of patrons. This edition was reprinted by Baird in Philadelphia in the 1860s. NUC locates five copies.

8vo, orig. dec. cloth. x+198+8 pp. with colored frontisp (made by pasted on triangular color chips over an engraved base).

115. HAY, D. R. [DAVID RAMSAY] A nomenclature of colours applicable to the arts and natural sciences to manufactures and other purposes of general utility. Second edition, improved. Edinburgh & London: William Blackwood & Sons, 1846

Originally published 1845. This is one of Hay's scarcest books and one of the most important. It is listed in the third edition of the Birren Catalogue (1988) with the comment: "This is an early and rare collection of numbered color samples." Wurmfeld, Color documents, no. 14 with the comment: "Influenced by Field's treatise on color and pigment and Buffon's analysis of color as being parallel to music scales, Hay expounds on these theories in A nomenclature of colours...where he develops a numerical system of color relationships." As in other of Hay's books, the plates are here made up of multi-colored triangles of papers pasted on engraved stiff card stock. There are 40 plates having a total of 240 mounted and identified chips. Hay was an important writer on color; an account of his career is given in the D.N.B. (among other things he was decorator to Queen Victoria). NUC locates 4 copies only.

8vo, recent cloth, morocco label, a.e.g. (vi)+72 pp. with 40 plates each with 6 mounted triangles of color chips. Ex-lib., unobtrusive stamp in the lower blank margin of each plate, and old perforation in t.p. but a good copy. RARE.

116. HAY, D. R. The principles of beauty in colouring systematized. Edinburgh and London: William Blackwood and Sons, 1845

First edition. A most interesting book with 14 engraved plates of colour schemes, with triangular pieces of coloured paper mounted on the diagrams, six to a plate, making hexagonal shaped multi-colored diagrams. David Hay was one of the earliest writers to wed color and geometry; he regarded the two as necessarily related. Faber Birren Collection 305. Nice copy.

8vo, new cloth, deep red morocco and gilt lettering piece. iv+72 pp. and 14 colour plates. Ex-lib., old perforation in t.p. but a good clean copy. All edges gilt.

THE BEST EDITION WITH COLOR PLATES BY OWEN JONES

117. HAYTER, CHARLES. An introduction to perspective, practical geometry, drawing and painting; a new and perfect explanation of the mixture of colours; with practical directions for miniature, crayon, and oil painting...with...colour plates. Sixth edition. London: Samuel Bagster & Sons, 1845

Originally published 1813. The present edition is given a long notice by Professor Herbert: "This 1845 publication has very handsome color lithographs involving the collaboration of Owen Jones, among others. Secondary colors are in some cases derived from overprinting of the three primary ones, and "ancient" color is shown to lead towards black, whereas "modern" color insists on white. Hayter's text (and one color plate) shows the advantage of spinning color disks, in which the three primaries will form white, and he looks forward to later developments also by stressing that "certain colours" of objects, that is, local color, must give way to what the artist actually sees. He must "resign all previous acquaintance with the colours of objects, especially distant ones, and confine himself purely to optical conviction," a pragmatic emphasis upon visual versus remembered qualities which, together with the aspiration toward light, looks forward to the Impressionists." (Yale Library Gazette, July 1974, p. 14). Birren Collection 306. Vagnetti FIb15 (but not citing this edition).

8vo, modern half polished calf, spine gilt. xiv+(ii)+276 pp. with engr. author's portrait, 150 engr text illus and 5 chromo-litho. plates. Excellent copy.

118. HEMPSTEAD, LAURENE. Color and line in dress. New York: Prentice-Hall Inc., 1934

First published 1931. Professor Herbert comments: "It is true that the average fashion book is apt to put off the serious reader but these works are often more than records of the tastes of their day." The present work of special interest for the frontispiece, which is a plate with 32 mounted color chips showing named skin tones and hues found in the eyes; also color names referred to in the text. Birren Catalogue 311.

8vo, orig. cloth. xiii+355 pp. with numerous sketches by Mary Highsmith and frontisp of mounted color chips as noted above.

A MAJOR STATEMENT OF SCIENTIFIC COLOR THEORY

119. HENRY, CHARLES. Cercle chromatique, prÇsentant tous les complÇments et toutes les complements et toutes les harmonies de couleurs avec une introduction sur la thÇorie gÇnÇrale du contraste, du rythme et de la mesure. Paris: Charles Verdin, 1888

First edition of this major work of color theory, preceeding by one year the very rare (and better known) large folio format Cercle chromatique. "Charles Henry, the mathematician friend of the painters Seurat and Signac, also played a major role in the transfer of scientific concepts of color to the art world. His Cercle chromatique, although [it could] hardly be called a vulgarization, is instead characterized by a very abstruse prose, and embody's Henry's influential ideas about the relationships of pure linear direction and color to states of feeling." - R. Herbert, Yale Library Gazette, July 1874, p. 7. See also W. Homer, Seurat and the science of painting, pp. 188-21, which gives a good account of the theories and influence of Henry. Very rare. This copy contains the printed notice "Homage de l'Auteur.

Small 8vo, orig. orange printed wrappers. 168 pp. with 12 text illus. Spine worn, foxing.

120. HERBERT, ROBERT L. "A color bibliography." The Faber Birren Collection on Color in the Art Library. Yale University Library Gazette. Vol 49, no. 1., July 1974

A bibilographical essay of great importance, it occupies pages 1-49. Out of print and scarce. Of the four bibliographies in this collection this is the most useful for Professor Herbert puts the books in context with brilliant commentaries. This issue also contains "A bibliographical note on Faber Birren" by Robert Kaufmann. (This collection contains 17 titles by Mr. Birren).

8vo, orig. wraps. 149 pp with 1 color plate and 282 illus (these illus are to another article in the Bulletin).

121. HILER, HILAIRE. Color harmony and pigments. Chicago & New York: Favor, Ruhl & Co., 1942 First edition. An important book which presents the author's own system of color nomenclature and organization. The work is particularly notable for the extensive and well informed bibliography (over 500 entires). Birren Catalogue 325.

Folio, orig. cloth. (viii)+61 pp with 1 halftone, a few text illus., 4 plates (1 in color).

122. [HINCKLEY, CORNELIUS T.]. The theory of effect, embracing the contrast of light and shade, of colour and harmony. By an artist. Philadelphia: J. W. Moore, 1851

First and only edition. The chapter "Hints from various artists upon colour and effect" is taken from Letters on landscape by J. B. Pyne. Hinckley takes other sections from Sir Joshua Reynolds and includes a translation of Du Fresnoy's poem "The art of Painting." Schimmelman 259.

12mo, orig. cloth, neatly rebacked. 144+ii+8 pp. with 15 text illus. Old 19th century library stamp on t.p.

123. HIORNS, ARTHUR H. Metal colouring and bronzing. London and New York: Macmillan, 1892 First edition. An uncommon book which "embraces every kind and shade of colour which can be produced on metals by any means whatever." Birren Collection 329 classifying the book under Optics, Physics and Chemistry.

8vo, orig. cloth. xv+336 pp.

COLOR-BLINDNESS

124. HOLMGREN, F. De la cÇcitÇ des couleurs dans ses rapports avec les chemins de fer et de la marine. Stockhom: Imprimerie Centrale, [1877]

Originally published in Swedish 1876-7 (see Garrison-Morton 5916). A serious railway accident in Sweden in 1875 was believed by Holmgren to be due to colour-blindness, and resulted in the above important paper dealing with the condition and its relation to railway and maritime traffic. Holmgren gives the history of color-blindness and the methods of testing for it. An English edition was also published in 1877 by the Smithsonian Institution. Birren Catalogue has this edition (no. 333) but that copy lacks the color frontisp.

8vo, orig. printed wrappers. viii+144 pp. with color litho frontisp and 5 text illus.

125. HOUSTOUN, R. A. Vision and colour vision. London & New York: Longmans, 1932

First edition. The author was a physicist and lecturer on physical optics in the University of Glasgow. He had earlier (1923) written a work entitled Light and colour, "excellent lay summaries of contemporary practice and theory of colour" to quote Professor Herbert. This title not in the Birren Collection.

8vo, orig. cloth, fine copy. viii+238 pp. with 102 text illus.

126. HOWARD, FRANK. Colour, as a means of art, being an adaptation of the experiences of professors to the practice of amateurs. London: Joseph Thomas, 1838

First edition, a good copy of a book usually found in wretched condition. "One of the more unusual early exercises in color lithography was Colour as a means of art; [it] had color illustrations printed in lithography; a description of the process was included in the text. But inks appropriate for printing on top of each other were not employed, and the resulting prints, while admirable attempts at tonal treatment, are muddled and opaque". - Friedman, Color Printing in England, no. 137. The plates in this copy are in fact very colorful. They are often said to be Hullmandel's first lithographs printed in three or four colours, but this has been questioned (see Printing Historical Society, no. 17, Gascoigne). Gascoigne suggests that there is only one printed color with all the rest added by hand. That does indeed appear to be the case in this present copy. See also G. Wakeman, Victorian book illustration, the technical revolution, p. 40. Faber Birren Collection 340 (D).

8vo, orig cloth, neatly rehinged, orig. backstrip preserved. 106+ii pp. with 18 plates printed in colours with hand colouring added, each plate with dust sheet.

127. HOWARD, FRANK. Lessons on colour, being an exemplification of the principles described in Colour as a means of art; as applied to representations of nature. Parts I-V [all published?]. London: Joseph Thomas & Ackermann & Co., 1841

Rare. As stated in the title, the present work is intended as an illustration as Colour as a means of art (see item above). This is not, however, a "volume II" to that work but a completely separate item. It consists of five parts, each in the original printed wrappers, each containing three hand-colored lithographed plates of paintings after old and modern masters (e.g. Cupy, Ruysdeal, the modern manner, Titian, Hobbima, Turner, etc). As far as we can determine these five parts were all published. Rare; not in the UCBA, not in Abbey Life nor in any of the many bibliographies at hand.

4to. 5 parts, each in orig. printed wraps., stitched. Each part contains 3 hand-col litho plates. The final part lacks the rear wrappers.

128. HUMMEL, J. J. The dyeing of textile fabrics. Seventh thousand. London, Paris & Melbourne: Cassell & Co., 1890

Originally published 1885. The author was Professor and Director of the Dyeing Department of the Yorkshire College, Leeds. The work was indended as a text "giving exact scientific and practical information." The final chapter is a long series of "tables of colour tests" for the detection of colours on dyed fabrics. It was popular and went through many editions as late as 1909. Lawrie 344.

12mo, orig. cloth, nice copy. xii+534 pp. with 97 text illus.

PHILOSOPHICAL THEORY OF COLOR FOR PAINTERS

129. HUNDERTPFUND, LIBERTAT. The art of painting restored to its simplest and surest principles, translated from the German. London: David Bogue, 1849

First English edition of what the translator claims to be the first philosophical theory of colour applicable to the art of painting written by a practicing artist (in contrast to several written by philosophers or scientists). The author claims to have discovered the method of painting with opposite colours and illustrates this in his unusual color printed plates. The appendix discusses technical matters: the preparation of oil colours, the washing, burning, and grinding of pigments, oils, grounds, priming and varnish making. Ruhemann/Plesters (page 389) states that "the work is not concerned with restoration, but it interesting to note, in view of the date, that in the section on varnish preparation the author expresses the view that only mastic or dammar in turpentine are safe and suitable varnishes for paintings." Birren Collection 341. UCBA, p. 891. NUC locates 6 copies.

8vo, original cloth, xi+122+(ii) pp with 23 plates of which 3 engraved and printed on thin card (one each of a palette and brushes), 20 in color lithography and a large folding chart. Spine faded; hinges partly cracked, inner hinges weak.

130. HUNT, EDMUND. Colour vision. An essay discussing existing theories, explaining views hitherto incompletely published, and comprising illustrated descriptions of important new experiments. Glasgow: John Smith & Son; London: Simpkin, Marshall & Co., 1892

First edition. A curious and apparently rare book, the product of some fifty years work according to the preface. The author was aware of and refers to the major authors who wrote on the subject before him. There is no indication as to the author's profession (i.e. medical doctor, professor, etc); perhaps he was a dedicated amateur.

8vo, orig. cloth. 122 pp. with 3 fdg. litho plates (on printed in colors). The final plate has minor paper repaires (almost invisible).

131. HURST, GEORGE H. Colour. A handbook of the theory of colour. Second edition, revised by H. B. Stocks. London: Scott, Greenwood & Son, 1916

Originally published 1900. "Excellent general manual incorporating Helmholtz, Ruskin, and physiology of vision." - Herbert, "A color bibliography, II, p. 153. Hurst intended this work for artists, painters, dyers, calico printers, etc. In the compilation of this book the author relied upon the manuals of Chevreul, Benson, Rood, Church, etc. The plates, printed in chromolithography, are bold, bright, and exceptionally attractive. Birren Catalogue 346.

8vo, orig. cloth. viii+160 pp. with 11 color plates.

132. HURST, GEORGE H. A manual of painters' colours, oils and varnishes. Fifth edition, revised by Noel Heaton, with a chapter on varnishes by M. B. Blacker. London: Charles Griffin & Co., 1913

Originally published 1892, a long standard work. This edition has been enlarged over the first by 38 pages. "A major work that retains its value. All aspects of pigments, their manufacture and use, as well as description of paint supports and vehicles. - Herbert, Yale Lib. Gazette, "Color. Bib. II", (1978, p. 153. Birren Collection 347.

8vo, orig. cloth. xii+528 pp. with 89 illus. A good copy.

133. INDERGAND, MICHEL. Bibliographie de la couleur. Paris: SociÇtÇ des Amis de la Bibliotheque Forney, 1984

An extensive bibliography, with 1516 entries. Arranged according to subject areas (generalities, arts, arts appliques, sciences humaines, sciences naturelles, technologie, etc). Includes also thematic index as well as one-alphabet index of authors. Useful.

Tall 4to, orig. printed wrappers. xxiii+111 pp.

134. INTERNATIONAL PRINTING INK CORP. Three monographs on color. I.Color chemistry. II. Color as light. III. Color in use. New York: Research Labs of the I.P.I.C., 1935

First edition. Concerned with organic color chemistry and theory of light and the spectrum. Scientific theory presented for an educated lay audience. Vol III deals with the use of color for the artist and the designer; it is complele with the stiff card mask to demonstrate the principles of the hue relationship.

4to, 3 vols in orig. slipcase. Each vol in orig. paper boards. 18; 21 and 18+11 color plates with 1 mask and 2 traps laid in.

135. ITTEN, JOHANNES. Kunst der Farbe. Subjektives Erleben und Objektives Erkennen als Wege zur Kunst. Ravensburg: Otto Maier, 1961

First edition of one of the most important color treatises of the mid-20th century. This first edition is rather rare as it was printed in a small edition and is laboriously illustrated with 140 tipped in color plates. "Itten (1888-1967), a Swiss, studied color theory with Adolf Holzel and was further influenced by the works of Goethe, Shoppenhauer, Runge and Chevreul. He had his own school in Vienna in 1916. Itten was at the Bauhaus at Wiemar from 1919 to 1923....The art of color was originally published in Germany in 1961 and that same year was translated into English. Since then it has been published in French, Italian and Japanese. Itten structures colors according to a twelve hue color sphere renimiscent of Runge's earlier model. He analyzes color according to seven categories of contrast - hue, light and dark, cold and warm, complementary, simultaneous, saturation, extension - and then shows how these apply to modes of color "impression," "expression," "Spatial," and "compositional" ideas. Despite this explanation of design principles he proclaims the subjective nature of color relations and, through an analysis of student work as well as of selected masterworks, shows the use of color in art." Wurmfeld, Color documents, no. 57. The Birren catalogue lists only the English edition.

Square small folio, orig. cloth. 155 pp. with 140 tipped in plates, mostly in color. Printed on a fine quality soft rag paper.

136. ITTEN, JOHANNES. The art of color. The subjective experience and objective rationale of color. Translated by Ernst von Haagen. New York: Van Nostrand Reinhold, 1973

First edition to be published in America. See notes to item above.

Small square folio, orig. cloth in d.w. 155 pp. with 174 color illus and 28 color plates. Nice copy.

THE COMPLETE RUN, WITH 195 MOUNTED SAMPLES

137. JACOB, M. (ed). Le Teinturier Universal. Echo des applications des matiäres colorantes aux arts et a l'industrie. Journal speciale de la teinture et de l'appret des Çtoffes, de la production, et de la prÇparation des matieres tinctoriales, de l'impression et de la fabrication des papiers peints - tannage et coloration des cuirs. Paris, 1860-1864 (Vols I-IV, all published)

A fine untrimmed and unopened set in the original printed wrappers, containing all 195 mounted samples of dyed cloths, papers and leathers. A rare work, even in odd volumes; the Union list of serials cites only two complete runs and no odd volumes.

4 vols. Small folio, orig. printed wraps to vols 1-3; vol 4 has new paper wraps. 192; 192; 192 and 192 pages with 51, 48, 48 and 48 mounted samples.

EXTENSIVELY COLORED BY HAND

138. JACOBS, MICHAEL. The study of color with lessons and exercises. Rumsen, New Jersey: Prismatic Art Co., 1956

Originally published 1927; this is the sixth printing. This book is partly in the form of a workbook; you were to study the text and mix the colors and fill in the squares. There are twenty-three color charts; the first eight have been been neatly filled in with a total of 240 colors, obviously done by a serious student. Jacobs (1877-1958) was a sculptor and portrait and landscape painter. His system emphasizes the psychological effect of color combinations. A note on him is found in Wurmfeld, Color documents, no. 51. Birren Catalogue 359. The hand-colored charts in this copy would make in interesting addition to a dislpay of color books.

4to, orig. cloth. xiv+161 pp. with 15 plates (13 of which are colored) and 8 plates which have been hand colored.

139. JACOBSON, EGBERT. Basic color. An interpretation of the Ostwald Color System. Chicago: Paul Theobald, 1948

First edition. F. W. Ostwald (1853-1932) was a major physical chemist and color scientist; a good account of his work, including color science, is given in the supplement volume to the DSB. In Germany his system was taught at the Bauhaus at Dessau. In the USA it found a major advocate in Edgert Jacobson, who was the Art Director for the Container Corporation of America. Through the work of Jacobson and E. Zeishold, Ostwald's system, as presented in The Color Harmony Manual (see next item) became the accepted standard in America. Birren Catalogue 360.

4to, orig. cloth. (xii)+207+1 pp with hundreds of color illus printed throughout the text. Includes 48 color triangles, 2 for each of the twenty-four hues.

THE OSTWALD SYSTEM FOR AMERICA

140. JACOBSON, EGBERT, WALTER C. GRANVILLE & CARL E. FOSS. The color harmony manual. Chicago: Color Laboratories Division, Container Corporation of America, 1942

First edition; rare and important. This is the American version of the famous Ostwald color system. This set unfortunately lacks one of the twelve folders of color chips, but the text and instruction volume is present. It consists of 11 (ex 12) folders of movable enamelled color chips in triangular arrangements of hues. Each folder contains of 56 chips. The colors were developed by Carl E. Foss. The importance of this work is explained in the DSB (Supplement volume, under Ostwald). Wurmfeld, Color Documents, no 50. The real achievement of the Ostwald system was in the systematic presentation of all hues in their variations. A beautiful and rare work. Birren Catalogue 361. I have recently seen this item offered at $1500.00.

12mo. 11 (ex 12) "volumes" (i.e. folders) plus text volume in orig. cloth in orig. slipcase. With over 600 movable color chips. Cloth a bit worn.

141. JEFFRIES, B[ENJAMIN] JOY. Color-Blindness: its dangers and its detection. Boston: Houghton, Osgood & Co., 1879

First edition. "Jeffries (1833-1915) was one of the first American ophthalmologists to take an active interest in the study of color blindness...this monograph was the first major contribution on the subject by an American and came at a time when European governments were already taking steps to guard against the occupational hazards of color blindness. Jeffries was the only authoritative American physician to research and call attention to the problems of color blindness among railway engineers, ships'captains, and other industrial workers..." - Rutkow OP28. Not in the Birren Catalogue. The three color original publisher's cloth binding, despite its slight discoloration, is of particular interest.

8vo, orig. cloth, head and tail of spine a bit chipped. Lower third of spine faded; light spot where a paper label has been removed. Ex-lib., old blind stamp on t.p. but a good copy. xx+312 pp. with color printed frontisp.

142. JENNINGS, ARTHUR SEYMOUR. Paint and colour mixing. Sixth edition. London: Spon, 1921 Nice copy. Originally published 1902. "Containing over 300 samples of actual oil and water-paints and water-colours of various colours, with 17 coloured plates". Although the title page calls for 17 colour plates, the work is complete with 14 as called for in the "Description of the coloured plates". The book is a recipe manual of actual mixtures, for which manufacturers and types of pigments are listed, by the editor of the Decorator. The mounted samples include semi-paste gloss paints, flat wall paints, wood stains, sanitary distemper paints, flat enamels, gloss paints, wood preserving stains, Winsor & Newton artists' water colours, etc. One simply cannot adequately describe these books in words; they have to be seen. Birren Collection 363 (edition of 1910). Of this edition the NUC locates 4 copies.

8vo, orig. cloth. (iii)+x+243+(x) pp. with 14 colour plates as noted above. Very nice copy.

143. JENNINGS, ARTHUR SEYMOUR. Paint and colour mixing. Seventh edition. London: Trade Papers Pub. Co.; New York: Spon and Chamberlain, 1926

Despite the identical title with the item above, the fifteen plates of mounted paint and varnish samples are entirely different. Each of the plates is in fact an advertisement by the maker of the paint samples shown. Companies include Combinol, Minerva Paints, Hygeia Paints, Naylor Brothers, Muralbo, Winsor & Newton, etc.

8vo, orig. cloth. (vi)+341+xii) pp. with 15 plates of mounted paint samples. Base of spine has an old paper label blacked out, else a good copy.

144. JENNINGS, J. ELLIS, M.D. Color-vision and color-blindness. A practical manual for railroad surgeons. Philadelphia: F. A. Davis Company, 1896

Originally published London 1895; this is the first American edition. "Color perception was commonly studied by the end of the century as part of experimental psychology, and it had been shown to be of use to industry. Color blindness was an obvious liability for railway employees, and lack of color sensitivity, although not so severe as color blindness was a disadvantage in several aspects of textile production. J. E. Jennings offered a general manual of color perception whose crudest purpose was to eliminate color-blind employees on the railways, but whose general aim was to give railway doctors sound advice on color vision." - R. L. Herbert, Yale Library Gazette, July 1974, p. 21. The frontispiece, printed in colors, illustrates Holmgren's tests for color-blindness. Birren Catalogue 364.

8vo, orig. cloth. xii+132 pp. with chromo-litho frontisp. and 27 text illus. Nice copy.

145. JENNISON, FRANCIS H. The manufacture of lake pigments from artificial colours. London: Scott Greenwood & Co., 1900

First edition. The plates consist of mounted strips of brightly coloured papers; not all of the strips are filled in but the book appears exactly as issued (i.e. nothing is obviously missing or removed; also this copy collates exactly with another we had several years ago). All editions are uncommon. Not in the Birren Collection. Not in the Edelstein Collection.

8vo, orig. cloth. (vi)+136+36 pp. with 16 plates with a total of 89 mounted coloured strips of paper (of a possible total of 96).

146. JOHNSON, GEORGE LINDSAY. Photography in colours. A text book for amateurs. With a chapter on kinematography in the colours of nature. Second (revised) edition. London: George Routledge & Sons, 1914

First published 1911. An important work which went through at least five editions. It is illustrated with 8 plates in color. Roosens/Salu 2250.

8vo, orig. cloth. vi+243+(vi) pp. with 12 plates (5 in color) and numerous illus in the text.

147. KORNERUP, A. & J. H. WANSCHER. Color atlas. A guide to accurate color matching. New York: Reinhold Pub. Corp., 1961

First edition. 1266 systematically arranged color swatches on 30 double-page openings. The majority of the text is devoted to a color dictionary, arranged alphabeticaly frm Absinthe Green to Yolk Yellow. "It will aid the housewife in decorating her home, the designer in combining fabrics, the painter in mixing pigments, the gardener, the stamp collector, the architect, the artist, indeed, anyone who needs to make a color judgement or selection." Birren Catalogue 389.

12mo, orig. cloth in d.w. 224 pp with 60 pages of color swatches. Printed in Denmark. The original printed stiff card trap still in the pocket inside rear cover.

148. KORNERUP, A. & J. H. WANSCHER. Methuen handbook of colour. Second edition. London: Methuen & Co., Ltd., 1967

"The second edition of the Methuen handbook of color is the first authoritative pocket color-book to appear in English covering the essentials of color practice, and including an international dictionary of colors with British Standard and Munsell equivalents." Birren Catalogue 388.

12mo, orig. cloth in d. w.243 pp. with 60 pages of color swatches. The original printed stiff card trap is still in the flap inside rear cover.

"A REMARKABLE PARALLEL TO NEO-IMPRESSIONISM"

149. LACOUTRE, CHARLES. RÇpertoire chromatique. Solution raisonnÇe et pratique des problemes les plus usuels dans l'Çtude et l'emploi des couleurs. Paris: Gauthier-Villars et Fils, 1890

First edition. "Of French standards, one of the most interesting is that of Lacoutre, who, in 1890, based his beautiful plates upon the concept of optical mixture. The engraved lines bearing the colored inks were nearer or farther apart according to the degree of paleness required, so that the greater or lesser amount of white paper showing through (and the greater or lesser amount of another set of engraved color-lines) would produce the effect - the colors of the inks themselves not being varied. This remarkable parallel to Neo-Impressionism did not acquire any popularity however, because the algebraic complexity of the author's nomemclature offered no compensating advantages." - R. Herbert, Yale Library Gazette, July 1974, p. 10. Birren Collection 400. Wurmfeld, Color documents, 36. Hope and Walsh, Color compendium (1990), p. 331.

Small folio, orig. printed wrappers. xii+144 pp. with 29 color printed plates, each with dust sheet, 9 wood-engr. illus and frontisp with printed overslip on tissue. In this copy the frontisp is bound preceeding plate I rather than facing the title page.

150. LADD-FRANKLIN, CHRISTINE. Colour and colour-theories. London: Kegan-Paul & Co., 1929 First edition. A work of serious scholarship, dealing with the perception of color. "Dr. Ladd-Franklin has been the first (and is still too nearly the only) physiologist to consider colour always in the light of the development of the colour-sense." Not in the Birren Catalogue.

8vo, orig. cloth. xv+287 pp with frontisp in color, 8 color plates and 25 text illus.

151. LE BLON, J. C. Presenting a facsimile edition of Coloritto by J. C. LeBlon (1667-1741) inventor and developer of the Red-Yellow-Blue theory of color printing. With an introduction by Faber Birren. New York: Van Nostrand Reinhold, 1980

The original work, published 1723/26, is one of the rarest and most fascinating works in the literature of color. This facsimile edition produced from the 1756 French edition, with the text in both French and English. Birren's introduction is extensive and scholarly.

12mo, orig. cloth in d.w. xx+71+(vi) pp with color frontisp.

152. LEIDEL, HENRY. Hints on tint