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Late 19th-century (1850-1870) Japanese export fan. This fan has a double leaf painted with a different design on either side. Ivory encrusted with gemstones (birds and shippomon motif). Painting by ukiyo-e artist and printmaker Katsushika Isai (1821–1880) represents a riverside landscape with figures; birds and flowers on the reverse. Signed: Isai ga (為斎画) - "Painted by Isai". -
Iron tsuba of round form with design of wheel (kuruma) in openwork (sukashi). Squared rim. Copper sekigane. Yagyu school. Signed of the face: Fukui Tsuguzaemon. Early Edo period: Late 17th century (Kanbun/Enppo era). Height: 76.7 mm. Width: 76.8 mm. Rim thickness: 5.2 mm. Center thickness: 5.6 mm. Provenance: Sasano Masayuki Collection, № 203: "This design of spoke wheel relates to the 'circular principle' found in the Yagyu philosophy. Although it is very faint, Fukui Tsuguzaemon's signature is visible. Without a signature and based on appearance alone, it would undoubtable attributed to a later period".Merrily Baird in her book "Symbols of Japan" [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001] provides the following explanation of the Wheel-of-the-Law symbol: "The Wheel-of-the-Law or Golden Wheel (rimbo, kinrin) has its origins in India, where it is known as chakra. [...] In Buddhist practice, it has been represented with eight spokes, reflecting the eight-fold path to overcoming worldly desire, and it signifies that all illusions will be crushed by the faith's enlightenment. [...] The Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the all-illuminating solar figure who is the principal deity for Shingon Buddhism. From the Edo period on, the wheel also has been used in a secular manner", e.g. on family crests.
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Iron tsuba of 8-lobed form pierced with six openings (sukashi) and decorated with design of bamboo and arabesque in flat brass inlay (hira-zōgan). Two of the openings serve as hitsu-ana. The design on the face represents bamboo trunks and leaves, clouds, waves, and vines; on the back - vines and leaves, that forms an arabesque (karakusa) motif. Rounded square rim. 'Silver' patina. Hitsu-ana with copper sekigane. Heianjō (most probable) or Kaga-Yoshirō school. Late Muromachi or Momoyama period; 16th century. Size: Height: 74.6 mm; Width: 69.5 mm; Thickness at seppa-dai: 4.2 mm. Weight: 113.9 g. Provenance: Gary D. Murtha. This tsuba is illustrated at: Japanese sword guards. Onin - Heianjo - Yoshiro by Gary D. Murtha [GDM Publications, 2016, p. 48]: "Iron, 80x75x3 mm tsuba with brass karakusa vines and leaves on one side with bamboo, leaves, and clouds on the reverse. This tsuba is one of those pieces that might be classified as Onin or Heianjo work, but the flush inlay tips it to the Heianjo side. Late Muromachi period." I would like to add that it easily may also be classified as Kaga-Yoshirō. Robert Haynes in Study Collection.., page 32, illustrates a look-a-like example, and writes: "This style of inlay, where the designs on the face and the back are very different, was common to the work of artists in Kyoto in the Momoyama period." -
Artist: Kitagawa Utamaro [喜多川 歌麿] (Japanese, c. 1753 – 1806) "This uncommon half-size horizontal ōban ... is most likely one design from a set of twelve prints issued late in Utamaro's life" [Japanese Erotic Fantasies, Hotei Publishing, 2005, p. 143, pl. 47]. Half-size horizontal ōban must be 12.7 x 38 cm. Richard Waldman and Chris Uhlenbeck say it's tanzaku size (13 x 43 cm). In reality, the prints of this series measure 17 x 38 cm, which corresponds exactly to horizontal o-hosoban paper size. I managed to assemble 11 of allegedly 12 designs. 7 of them have genitals colored by hand. It's hard to tell whether it was done by the publisher on demand of a peculiar buyer, or by the owner of the prints who considered the black and white privy parts unnatural. My sequencing of the prints is arbitrary. Transcription of the text may help find the correct order.
As Japanese Erotic Fantasies put it: "a couple engaged in love-making, their stare fixed outside the picture plane". This is the only image of series that has a reference in available western literature, and the only one found in museum collections: Rijksmuseum Amsterdam (RP-P-1999-2001-16); reference: Fukuda (ed.) (1990), pls. 11-2.
The scene of this print looks quite similar to that of the Kiyonaga's Sode no maki:
The woman is "a young lady-in-waiting of Shogun's Court or Daimyō's Mansion, enjoying a rare outing from her tedious chores" [Richard Lane]. She is fully dressed in her outer cloak (shikake), white paper hat (agebōshi or tsunokakushi), and toed socks (tabi). A book or maybe, onkotogami (roll of tissues known as 'paper for honourable act' ) is still in the folds of her kimono. She is holding an open fan, either to cover her and her lover's faces from an unsolicited witness or to bring some fresh air to their joined lips. The pair just started their sexual intercourse.
A scene from medieval times. A courtier in eboshi cap having sex with an aristocratic young woman with a long straight hairstyle (suihatsu).
Completely naked couple in the moment of ejaculation. Lavish garments with paulownia leaves on a yellow background counterbalance the white bodies on red bedding. The form of a woman's cheeks is telling, but I don't know about what. Maybe her advanced age?
The pose of the couple and the overall composition are similar to that of the previous sheet. Though the lovers are dressed, and the woman's hairdo is well kept. The male looks older and the woman - younger.
A man takes a young maid from behind. She clenches the sleeve of her kimono in her teeth; it's either the moment of penetration (beginning of intercourse) or of her orgasm (the end of it).
This seems to be a forced intercourse between a lackey with extensive bodily hair and a young maid from the same household.
This design is very much like the other one presented below, which is described at Japanese Erotic Fantasies on page 136 (pl. 43b) as follows: "The viewer peers through a mosquito net to see a child fast asleep, while his mother or wet-nurse moves towards her partner. On our print there is no child; instead of a sleeping baby, there is a roll of onkotogami. Fewer objects make the overall image concise, almost laconic in comparison with the Ehon hana fubuki (1802) design:
A young couple in a moment of true love. He is listening to the beating of her heart.
This is a moment of true love between an old monk and a young samurai. The latter even did not take of his socks (tabi).
From Japanese Erotic Fantasies: "Boats played a crucial role in the workings of Yoshiwara, as they were the primary means of transport to the district. During the hot summer months, trips on pleasure boats were also a favourite pastime. Sex aboard a boat is a recurrent theme in shunga".
The last print that I am currently lacking and hunting for:
I know where it is, but I cannot reach it... yet. -
Copper tsuba of oval form carved in kebori and katakiribori with Tekkai Sennin sitting under bamboo on the face and with a pine tree on the back. Ishime-ji treated surface.
Signed on the reverse: Jōi (乗 意).
Edo period (First half of 18th century). Dimensions: 69.6 x 66.5 x 4.5 mm Sugiura Jōi (杉 浦 乗 意) was a master of Nara School in Edo; he was a student of Toshinaga [M. Sesko, 'Genealogies', p. 32]. "Sugiura Jōi (1701-1761) made many fuchigashira and kozuka, tsuba are rather rare." [M. Sesko, The Japanese toso-kinko Schools]. -
Iron tsuba of elongated round form with brown (chocolate) patina. The surface is carved with file strokes (sujikai-yasurime) to imitate heavy rain. The design of a bird drinking water from a bucket hanging on a rope is carved in low relief (sukidashi-bori); the rope is inlaid in gold. The well structure on the reverse, carved in low relief. Nakago-ana is enlarged and plugged with copper sekigane. Unsigned.
Edo period.Size: Height: 75.1 mm; Width: 68.3 mm; Thickness: 4.6 mm; Weight: 134 g.
Unsigned.
SOLD -
Ko-kinko ymagane cast tsuba of mokko form (kirikomi-mokkō-gata) with chiseled diaper pattern of double head waves on both sides and a rabbit cast and carved with its eye inlaid in yellow metal (gold or brass) on the face. Fukurin which holds together the sandwiched layers of metal (sanmai) is about 2.4 mm wide. A look-a-like tsub of oval form instead of mokko-gata is illustrated at Robert E. Haynes's Catalog #3,1982 on page 11, lot 15: "Rare design in style of Sanmai (three layers) / Wasei work. With yamagane core and heavy rim cover. The web plates are carved with double head Goto style waves and the face has a fox. The web plates were riveted at the seppadai. See Lot 4, page 8. Ca. 1350. Ht. 6.6 cm, th. 3 mm" [underscore mine]. Quality of photo is so poor that I decided not to provide it here. Muromachi (if we follow Robert) or Momoyama period. The Momoyama attribution is mostly based on a fact that "waves and rabbit" motif became most popular in Momoyama times. Size: 68.5 x 59.8 x 4.0 mm. NBTHK Certificate № 423120. This tsuba is listed at Yakiba website with the following passage: "Attributions as well as dating of this type of tsuba has been the subject debate over the years. There are those who believe these type of tsuba to be ko-Mino (early Mino School) tsuba, others believe them to be tachi-kanaguchi tsuba. Still others insist they are simply ko-kinko (early soft metal) tsuba. This tsuba was authenticated and determined to be "Ko-Kinko" by the NBTHK". Oval form tsuba with the same design can be found in this collection - TSU-0323.
TSU-0323. Ko-kinko yamagane tsuba with waves and rabbit motif.
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Ulster Official Scout pocket knife with brown jigged bone plastic handles.
Size: 93 mm (closed); 160 mm (opened); 70 mm blade.
Tang is etched with: Ulster -
Wood netsuke of Seiōbo with a basket of immortal peaches, seated on a bed of clouds. Carver's signature tablet lost. Circa 1850. Dimensions: 32.6 x 28.1 x 20.1 mm.Queen Mother of the West is a calque of Xiwangmu in Chinese sources, Seiōbo in Japan. Peaches of Immortality (Chinese: 仙桃) are consumed by the immortals due to their mystic virtue of conferring longevity on all who eat them.
Provenance: Charles Ephrussi (1849-1905) acquired in the 1870s; a wedding gift in 1898 to his cousin Ritter Viktor von Ephrussi (1860-1945) and Baroness Emilie (Emmy) Schey von Koromla (1879-1938); retrieved post-war by their daughter Elizabeth de Waal (1899-1991); given by her to her brother Ignaz (Iggie) Ephrussi (1906-1994), Tokyo; bequeathed by him to his great-nephew Edmund de Waal (born 1964), London, author of “The Hare with Amber Eyes: a hidden inheritance”. London / New York: Chatto & Windus / Farrar, Straus & Giroux. ISBN 978-0099539551. https://en.wikipedia.org/wiki/Charles_Ephrussi. https://en.wikipedia.org/wiki/Ephrussi_family. https://en.wikipedia.org/wiki/Edmund_de_Waal. -
Phaedri, Aug. Liberti Fabularum Aesopiarum libri V / notis illustravit in usum serenissimi principis Nassavii David Hoogstratanus. Accedunt ejusdem opera duo indices, quorum prior est omnium verborum, multo quam antehac locupletior, posterior eorum, quae observatu digna in notis occurunt. — Amstelaedami : Ex Typographia Francisci Halmae, MDCCI [1701]. — pp.: [1] title, [1] (portr.), [32] 160, [84], 18 leaves of plates. Vita Phaedri is written by Johannes Schefferus (February 2, 1621 – March 26, 1679). Appendix fabularum is written by Marquard Gude (Gudius) (1 February 1635 – 26 November 1689). Gaius Julius Phaedrus was a 1st-century CE Roman fabulist and the first versifier of a collection of Aesop's fables into Latin. David van Hoogstraten (Rotterdam, March 14, 1658 - Amsterdam, November 21, 1724), a physician, poet and linguist, annotated the fables and dedicated them to Johan Willem Friso van Oranje-Nassau (14 August 1687 – 14 July 1711). The book was published in Amsterdam by François Halma (Langerak, January 3, 1653 - Leeuwarden, January 13, 1722), a Dutch printer, publisher and bookseller, with a portrait of Prince of Orange-Nassau, engraved by Pieter van Gunst (Dutch, Amsterdam 1659–1724) after Bernard Vaillant (Dutch, Lille 1632–1698 Leyden). The title page was engraved by P. Boutats after Jan Goeree (Dutch, Middelburg 1670–1731 Amsterdam). The edition is adorned throughout with 18 plates, each with 8 médaillons, designed and engraved by Jan van Vianen (Dutch, 1660–1726), and with vignettes, head- and tailpieces, inhabited initials, etc. Contemporary vellum over boards, title in red and back, red edges, 4to, 26 x 20 cm. Seller's description:4to, engraved general title, letterpress red & black title page with allegorical engraved vignette. 18 full-page copper-engraved plates by Jan van Vianen, each featuring six circular images, and 38 in-text reproductions, engraved decorative initials, and head- and tailpieces. Phaedrus (15 BC - 50 AD, Italy), was a "Roman fabulist, the first writer to Latinize whole books of fables, producing free versions in the iambic metre of Greek prose fables then circulating under the name of Aesop." (Ency. Brit.). This deluxe edition was specially created for the Prince of Nassau, profusely illustrated with fine engravings. Dibdin spoke highly of it in his Greek and Latin Classics (4th edition): "I have always considered this as a correct and very sumptuous edition. It is ornamented with a great number of small plates, or medallions, in which the subject of the fable is very ably and spiritedly executed.Ref.: Metropolitan Museum; Musée Médard -
Title: A GENERAL | HISTORY | OF | QUADRUPEDS. | – | THE FIGURES ENGRAVED ON WOOD BY THOMAS BEWICK. | {vignette} | — | NEWCASTLE UPON TYNE : | PRINTED BY AND FOR S. HODGSON, R. BEILBY, & T. BEWICK, | NEWCASTLE: SOLD BY THEM, BY G. G. J. & | J. ROBINSON, AND C. DILLY, LONDON. | 1790. Pagination: [4 blanks], [i, ii] – t.p. / blank, [iii, iv] – advertisement / index, v-viii – index, [1] 2-456 [4 blanks]. Collation: demi 8vo; a⁴ A-Ee⁸ Ff⁴. A3 unsigned, catchword at p.375 THE instead of WE. Variant A (with a fly facing upward). Size: 21.8 x 14 cm; page 21.2 x 13 cm. Woodcuts: 260 descriptions of quadrupeds; 200 figures of quadrupeds, 104 vignettes, tailpieces, etc. Binding: Full marbled calf, gilt double border, black label with gilt lettering to flat spine. There were 1,500 copies Demy copies printed. Catalogue raisonné: S. Roscoe (1953): pp. 5-11; Hugo (1866): pp. 22-23. -
L'Éclipse : journal hebdomadaire, №94, 07-11-1869. La Bataille de Louqsor, par Job. [The Battle of Louqsor, by Job]. Le père Gagne, monté sur l'Obélisque, s'écrie: — Citoyens, du bas de ce monument, quatre-vingt mille…..parapluies me contemplent. [The father Gagne mounted on the Obelisk, cries out: — Citizens, from the bottom of the monument, eighty thousand….umberellas contemplate me]. Étienne-Paulin Gagne, known as Paulin Gagne (French, 1808 – 1876), holding a hat with a tricolour cockade and umbrella with the head of a devil on its grip straddles the obelisk of Luxor at the centre of the Place de la Concorde with marching scarabs on it. A spider dangles from his heel. In the background is The Palais Bourbon, a meeting place of the French National Assembly. The ground is made out of open umbrellas. Paulin Gagne was a graphomaniac poet, essayist, lawyer, politician, inventor, and eccentric, and a perpetual candidate for the Assembly. Ref.: Gallica; Bibliothèque nationale de France, département Philosophie, histoire, sciences de l'homme, FOL-LC13-114 -
Half-title: THE WORKS | OF | GEORGE CRUIKSHANK | CLASSIFIED AND ARRANGED.|| Title: (in black and red) THE WORKS | OF | GEORGE CRUIKSHANK | CLASSIFIED AND ARRANGED | WITH REFERENCES TO REID'S CATALOGUE | AND THEIR APPROXIMATE VALUES| BY | CAPTN. R. J. H. DOUGLAS | WITH A FRONTISPIECE | (a facsimile of the frontispiece to the rare Holiday Grammar) | LONDON | PRINTED BY J. DAVY & SONS AT THE DRYDEN PRESS 137 LONG ACRE | AND SOLD BY MESSRS. H. SOTHERAN & CO. 140 STRAND AND 37 PICADILLY ; PICKERING & CATTO | 66 HAYMARKET ; ROBSON & CO 23 COVENTRY STREET ; F. T. SABIN 118 SHAFTESBURY AVENUE ; | W. T. SPENSER 27 NEW OXFORD STREET ; AND CHARLES SCRIBNER’S SONS NEW YORK. | MDCCCCIII || Imprint (title verso): One Thousand Copies of this book have been printed and the type distributed. This is No. 205. Bookplate to recto ffl: Reference Library of Francis Edwards Ltd. Not for sale. Inscription to recto ffl: “With the author’s compliments”. Pagination: ffl, [i, ii] – h.t. / blank, [2] – blank / frontis., [iii, iv] – t.p. (black and red) / Print run, [v] v-vi –preface, [2] – contents, [2] – f.t. / note; [1] 2-301 [302] – colophon; insert one sheet with type writing on Francis Edwards letterhead, bfl. (OCLC: ix, 302 pages : illustrations ; 26 cm) Collation: [A]5 B-T8 U7 Binding: Hardcover, burgundy cloth gilt-stamped with title and publisher’s device to front board and gilt lettering to spine. -
Title: CONTES FANTASTIQUES | DE | HOFFMANN | TRADUCTION NOUVELLE ; PRÉCÉDÉS | DE SOUVENIRS INTIMES SUR LA VIE DE L’AUTEUR | PAR P. CHRISTIAN. | ILLUSTRÉS PAR GAVARNI. | {Publisher’s device} | — PARIS, | LAVIGNE, LIBRAIRE-ÉDITEUR, | 1 RUE DU PAON SAINT-ANDRÉ. | MDCCCXLIII. || Pagination: ffl, [i-vi] –h.t. / colopon, t.p. /blank, dedication /blank, [vii] viii-xix [xx][1,-3] 4-522, bfl, + woodcut illustrations by Brévière et Novionafter Gavarni: 10 full page plates, initials, tail pieces, and in text. Collation: [a]-b4 c2, 1-654 661. Binding: Quarter brown morocco over marbled boards, raised bands with gilt double fillets, gilt arabesque in compartments, title lettering. Catalogue raisonné: L. Carteret (1927), p. 295. -
ATLAS | SHRUGGED | AYN RAND | {Publisher's device} | RANDOM HOUSE | NEW YORK || Pagination: [2] - h.t. / advert., [2] – t.p. / colophon, [2] – dedication / blank, [2] – contents / cont., [1, 2] ¬ f.t. / blank, [3] 4-1168 [1169] blank, [1170/71] about the author [1172] blank, two blank leaves. Original green cloth with gilt lettering, black label with gilt lettering and publisher device to spine; top margin green, lateral margin untrimmed. Stated first edition, first printing. Original dust jacket with $6.95 printed price and 10/57 code present on the front flap. -
Softcover, pictorial wrappers, pp.: 1-200, il.Foreword: A treasure trove of ukiyo-e prints / Kobayashi Tadashi The Grabhorn ukiyo-e collection at the Asian Art Museum / Melissa M. Rinne Edwin Grabhorn : passionate printer and print collector / Julia Meech Figures of humans and animals : some early Japanese color prints from the Grabhorn Collection / David Waterhouse. Edwin Grabhorn (1889—1968), co-founder of the Grabhorn Press, Northern California's premier letterpress printer, was a pioneer American collector of Japanese prints. The Grabhorn prints in the collection of the Asian Art Museum comprise the upper echelons of the original collection. The collection includes a superb selection of early monochrome and hand-colored ukiyo-e prints by Sugimura Jihei, Torii Kiyonobu, Okumura Masanobu and others, from the seminal decades of the woodblock print production in the late 1600s and early 1700s.
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Title: COSTUMES ET MODES | D’AUTREFOIS | HORACE VERNET | Incroyables | et | Merveilleuses | Paris | 1810–1818 | TEXTE PAR | ROGER–ARMAND WEIGERT | Conservateur au Cabinet des Estampes | de la Bibliothèque Nationale | ÉDITIONS ROMBALDI | PARIS || Content: 24 photomechanical reproductions of the images from Bibliothèque nationale de France, printed on vélin paper from Papeteries Aussedat by Papeteries de la Moselle printing presses and stencil-coloured by Edmond Vairel. Text printed by Imprimerie Kapp on October 20, 1955. A print run of 4,000 copies, of which this is №122. Exterior: Pink lettered dust jacket over wrappers. Pagination: loose double leaves, [4 blanks] [4 h.t. and t.p.], i-xi [xii], 24 unnumbered plates, [4 blanks].Weigert, Roger-Armand (French, 1907-1986).
Émile Jean-Horace Vernet [Horace Vernet] (French, 1789 – 1863). Gatine, Georges Jacques (French, 1773 – after 1841). -
![Конрад Н.И. Театр Кабуки, его история и теория // Японский театр. — Л.-М.: Academia — Всесоюзное Общество культурной связи с заграницей, 1928. — Тир. 3.200 экз. [Сборник статей под редакцией проф. Н. И. Конрада. В книге представлены статьи Н. Конрада, О. Плетнера, Д. Аркина, посвященные традиционному японскому театру. Объём книжки — 60 стр.].](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-0975.2016-a-500x619.jpeg)
Title page: ВСЕСОЮЗНОЕ ОБЩЕСТВО КУЛЬТУРНОЙ СВЯЗИ С ЗАГРАНИЦЕЙ | ЯПОНСКИЙ ТЕАТР | СБОРНИК СТАТЕЙ | ПОД РЕДАКЦИЕЙ | ПРОФ. Н. И. КОНРАДА | ЛЕНИНГРАД 1928 МОСКВА || T.p. verso: Отпечатано по заказу Всесоюзного | Общества Культурной Связи с загра- | ницей издательством «ACADEMIA» | Государственного Института Истории | Искусств | Обложка работы | Н. А. И А. А. УШИНЫХ | Лениградский Областлит № 12814 […] Тираж 3200 экз. | 2-я типография Транспечати ГКПС, Ленинград, Улица Правды 15. || Bibliographical description: 21.5 x 17 cm; Publisher’s black pictorial wrappers, front cover with lettering: «ЯПОНСКИЙ ТЕАТР» | ВОКС ||, pp. [2] frontis., [2] t.p. / imprint, [2] h.t. / blank, [9] 10-59 [60] – content; collation: [1]7 2-38 46, (first leaf messing from the first gathering), 4 photo illustrations in collation, back black geometrical wrapper. Contents: Н. И. Конрад. Театр в Японии. Общий очерк. — с. 9. Его же. Театр Кабуки, его история и теория. — с. 15. Ол. Плетнер. Театр Кабуки. Социологический очерк. — с. 31. Д. Е. Аркин. Театр Кабуки. Формы и средства театральной выразительности. – c. 45. Personae: Конрад, Николай Иосифович (Russian, 1891 – 1970). Плетнер, Олег Викторович ( Russian, 1893 – 1929). Аркин, Давид Ефимович (Russian, 1899 – 1957). Ушин, Николай Алексеевич (Russian, 1898 – 1942). Ушин , Алексей Алексеевич (Russian, 1904 – 1942). -
A two-volume edition. 1st vol. Title (in black and red): МИШЕЛЬ | МОНТЕНЬ | ОПЫТЫ | В ТРЕХ КНИГАХ | КНИГИ | ПЕРВАЯ И ВТОРАЯ | Издание подготовили | А. С. БОБОВИЧ | Ф. А. КОГАН-БЕРНШТЕЙН | Н. Я. РЫКОВА, А. А. СМИРНОВ | Второе издание | ИЗДАТЕЛЬСТВО "НАУКА | МОСКВА | 1979 || Opposite title: MICHEL |de | MONTAIGNE | LES ESSAIS || Pagination: [1-5] 6-703 [1], errata slip. Collation: 16mo, [1]-2216, + frontispiece portrait and 2 plates extraneous to collation. 2nd vol. Title (2) (in black and red): МИШЕЛЬ | МОНТЕНЬ | ОПЫТЫ | В ТРЕХ КНИГАХ | КНИГА ТРЕТЬЯ | Издание подготовили | А. С. БОБОВИЧ | Ф. А. КОГАН-БЕРНШТЕЙН | Н. Я. РЫКОВА, А. А. СМИРНОВ | Второе издание | ИЗДАТЕЛЬСТВО "НАУКА | МОСКВА | 1979 || Opposite title: MICHEL |de | MONTAIGNE | LES ESSAIS || Pagination: [1-5] 6-534 [2]. Collation: 8vo, [1]-348, + frontispiece portrait. Binding: Uniformly bound in serial design green cloth with gilt lettering on an embossed scroll to front cover, gilt lettering to spine, 22 x 18 cm. Print run: 200,000 copies each volume. Michel Eyquem de Montaigne (French, 1533 – 1592) Ананий [Анатолий] Самуилович Бобович (Russian-Jewish, 1904 – 1988) Надежда Януарьевна Рыкова (Russian, 1901 – 1996) Александр Александрович Смирнов (Russian, 1883– 1962) Фаина Абрамовна Коган-Бернштейн [b. Аронгауз] (Russian-Jewish, 1899 – 1976) -
Coloured etching by E. Charreyre (French, fl. 1880 – ?) after a watercolour by Juan Antonio González, (Spanish, 1842 – 1914). A book illustration for 'Son Altesse La Femme' by Octave Uzanne (1851 – 1931), chapter: 'La Caillette' (Le lever d’une petite-maitresse au XVIIIe siècle). Published by Albert Quantin (French, 1850 – 1930) in 1885.
Size: print 17.5 x 12 cm, pasted to leaf 27.7 x 19.5 cm.
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Title page: MYSTERIES OF THE | FRENCH SECRET POLICE | by | JEAN GALTIER-BOISSIÈRE | FOUNDER AND EDITOR OF ‘CRAPOUILLOT’ | Translated by | RONALD LESLIE-MELVILLE | AUTHOR OF | ‘THE LIFE AND WORK OF SIR JOHN FIELDING’, ETC. | WITH 22 ILLUSTRATIONS | London | STANLEY PAUL & CO. LTD. || Pagination: [1-8] 9-292 [16 advert], frontis., 14 pp of ill. Collation: 8vo; [A]8 B-R8 S10 + 8 leaves of advertisement + frontispiece and 7 leaves of b/w photomechanical illustrations. Binding: Burgundy cloth, gilt lettering to spine, brown endpapers. Contributors: Galtier-Boissière, Jean (French, 1891 – 1966) – author. Leslie-Melville, Ronald (British, 1905 – 1942) – translator. Stanley Paul (London) – publisher. Mayflower Press (Plymouth), William Brendon & Son (Plymouth) – printers. -
Two volumes uniformly bound by Riviere & Son in full red marbled calf, triple fillet border stamped in gilt, elaborate gilt ornament and brown morocco labels with gilt lettering to spine, all edge gilt, gilt dentelles. Vol. 1: Title page: THE | LIFE AND EXPLOITS | Of the ingenious gentleman | DON QUIXOTE | DE LA MANCHA. | Translated from the Original Spanish of | Miguel Cervantes de Saavedra. | By CHARLES JARVIS, Esq; | IN TWO VOLUMES. | {single rule} | VOLUME the FIRST. | {double rule} | LONDON: | Printed for J. and R. Tonson in the Strand, and | R. Dodsley in Pall-Mall. | {single rule} | M DCC XLII || Pagination: [i-iii] iv-xxxii, [i-iii] iv-vi, [2], [1] 2-90, [14], [1] 2-355 [356]; 500 pages total + ils. Collation: 4to; 250 leaves; A4 a-b4 c-d2, A4, a-l4 m2 n4 o2, B-Z4, Aa-Yy4 Z2, ils. Illustrations: 27 full-page copperplate engravings, incl. frontispiece (skillfully repaired), portrait of Cervantes by George Vertue After G. Kent and a fictional portrait of Don Quixote by George Vertue after John Vanderbank. Vol. 2: Title page: THE | LIFE AND EXPLOITS | Of the ingenious gentleman | DON QUIXOTE | DE LA MANCHA. | Translated from the Original Spanish of | Miguel Cervantes de Saavedra. | By CHARLES JARVIS, Esq; | {single rule} | VOLUME the SECOND. | {double rule} | LONDON: | Printed for J. and R. Tonson in the Strand, and | R. Dodsley in Pall-Mall. | {single rule} | M DCC XLII || Pagination: [i-iii] iv-xii, [1] 2-388; 400 pages total + ils. Collation: 4to; 200 leaves; A4 a2 B-Z4 Aa-Zz4 Aaa-Ccc4 Ddd2, ils. Illustrations:41 full-page copperplate engravings, pl. 29 (as frontispieces) precedes pl. 28. Contributors: Author: Miguel de Cervantes Saavedra (Spanish, 1547 – 1616) Translator: Charles Jervas (British, 1675 – 1739) Author: Cervantes biography by Gregorio Mayans y Siscar (Spanish, 1699 – 1781) Translator: Cervantes biography by John Ozell (British, d. 1743) Illustrator: John Vanderbank, the younger (British, 1694 – 1739) Artist: (Cervantes portrait): G. Kent (British, fl. 1738 – 1742) Engravers: Gerard Vandergucht (British, 1696 – 1776); George Vertue (British, 1684 – 1756); Bernard Baron (French, 1696 – 1762); Claude Du Bosc (French, 1682 – 1746 or later) Publishers: J. and R. Tonson (London); Robert Dodsley (British, 1703 – 1764) Catalogue raisonné: Lewine p. 102 Reference: Metropolitan Museum (New York) -
Title page: ACROSS THE RIVER | AND | INTO THE TREES | BY | ERNEST HEMINGWAY | CHARLES SCRIBNER'S SONS | NEW YORK | 1950 || Pagination: [12] 1-308; total 160 leaves. Binding: black cloth, gilt Hemingway's fac-simile to front board, lettering to spine, pictorial dust jacket designed by A. Ivancich; $3.00 price clipped from top of front flap. Bookplate of Feodor Rojankovsky to front pastedown. Size: 21.5 x 15 cm. Edition: 1st edition, 1st printing; DJ with yellow on spine (later copies have orange); letter “A” and the Scribner’s device to copyright page. Provenance: Rojankovsky, Feodor [Rojan; Рожанковский, Фёдор Степанович] (Russian-American, 1891 – 1970) Contributors: Ernest Hemingway (American, 1899 – 1961) – author. Adriana Ivancich (Italian, 1930 – 1983) – artist of the dust jacket (Ivancich inspired the figure of Renata in the novel). Charles Scribner's Sons – publisher. -
A set of 12 photomechanically reproduced illustrations after gouaches by Umberto Brunelleschi (Italian, 1879 – 1949), in colour; b/w photographs reproductions on verso, in a paper folder without the outer wrappers (b/w with birds, insects, and flowers). Text on the folder by French novelist Francis de Miomandre (French, 1880 – 1959); published by Grands Magasins Dufayel (1856 – 1930), a Parisian department store, run by Georges Dufayel (French, 1855 – 1916). Size: 29 x 24 cm. Images printed on cream paper within a beige frame, lettered above the frame in beige: "Societé Anonyme des Administrations et Grands Magasins DUFAYEL — Paris —", under the frame: "Palais de la Nouveauté ~ Palais du Mobilier | Entrée principale 7 Bould BARBES"; at the bottom of the frame lettered black on each image: Le Style Chinois, Le Style Empire, Le Style Japonais, Le Style Louis XIV, Le Style Louis XV, Le Style Louis XVI, Le Style Moderne (2), Le Style Moyen Age, Le Style Renaissance, Le Style Vénitien, Le Style Persian. -
Vol. 1: Title page: LES AVENTURES | DE | TÉLÉMAQUE, | PAR FÉNELON. — | TOME PREMIER. | {publisher’s arms by Beugnet after Choffard} | DE L'IMPRIMERIE DE MONSIEUR. | M. DCC. LXXXV. || Title-frontispiece (engraved by Montulay): lettering within garland: Les Aventures de Télémaque, FILS D’ULYSSE. GRAVÉES | D’APRÈS LES DESSEINS | DE | CHARLES MONNET | PEINTRE DU ROY | PAR | JEAN BAPTISTE | TILLIARD. ||; Lettering on ribbon beneath the garland: A PARIS | Chez L’AUTEUR Quay des Grands Augustins | Maison de Mr. Debure Fils Aîné Libraire. M. DCC. LXXIII. | AVEC PRIVILEGE DU ROY. ||; Signed under the frame: Montulay Sculpsit. || Pagination: [2] – h.t. / imprint, [2] – t.p. / blank, [2] Advert., [2] d.t.p. / sommaire, [1] 2-309 [3 blanks], total 320 pages on thick wove paper plus engraved title-frontis. by Montulay, 12 engraved text leaves (one for each book), unsigned, and 36 plates (all in ornamental frame of laurel ribbon) by Tilliard after Monnet, all engravings on laid paper. Collation: 4to; vergé flyleaves at front and back, π4 A-2P4 plus 4 additional divisional titles in choirs C, F, I, and M for books 2-5, total 160 leaves, plus 49 plates. Vol. 2: Title page: Same but “TOME SECOND”. Pagination: [2] – h.t. / imprint, [2] – t.p. / blank, [1-3] 4-297 [298 blank] [2] – approb., total 304 pages plus 12 engraved text leaves (one for each book), and 36 plates, last 6 plates in a simple frame without the laurel ribbon and before signatures. Collation: 4to; π2 A-2O4 2P1 χ1, total 152 leaves, plus 48 plates. Binding: Two volumes uniformly bound in green paper boards with two red labels lettered in gilt, untrimmed. Size: overall 36.5 x 28 cm, platemark 32 x 25 cm, with white vergé flyleaves to front and back, similar pastedowns. Catalogue raisonné: Cohen, de Ricci (1912): 384-386; Ray (French): № 37, p. 74; Lewine (1898): p. 181. Contributors: François Fénelon [François de Salignac de la Mothe-Fénelon] (French, 1651 – 1715) – author. Choffard, Pierre Philippe (French, 1730 – 1809) – artist. Monnet, Charles (French, 1732 – after 1808) – artist. Montulay (French, fl. c. 1773) – engraver. Tilliard, Jean Baptiste (French, 1740 – 1813) – engraver. Beugnet, Jean (French, c. 1803) – engraver. Didot, Pierre-François (French, 1731 – 1795) – printer. Barrois, Louis-François (French, 1748 – 1835?); Barrois, Pierre-Théophile (French, 1752 – 1836); Onfroy, Eugène (French, before 1765 – 1809) ; Delalain, Louis-Alexandre (French, 1749? – 1798) – booksellers. -
Vol. 1: Title page (in red and black): CONTES | ET | NOUVELLES | DE | BOCACE | FLORENTIN. | Traduction Libre, | Accommodée au gout de ce temps, & en- | richie de FIGURES en TAILLE- | DOUCE gravées par Mr. Romain | de Hooge. | TOME PREMIER. | {device} | A AMSTERDAM, | Chez GEORGE GALLET. | — | M. DC. XCIX. || Collation: 2 binder’s blank leaves, etched frontispiece or title, t.p. in red and black, *8 **4 (starting at *3, frontis. within collation of lacking one leaf) A—Y8 Z7, no final blank; 44 in-text half-page vignettes and one tipped-in additional plate (p. 212) in novella XXV (day 3, story 6: "Ricciardo Minutolo loves the wife of Filippello Fighinolfi, and knowing her to be jealous, makes her believe that his own wife is to meet Filippello at a Turkish bathhouse on an ensuing day; whereby she is induced to go thither, where, thinking to have been with her husband, she discovers that she has tarried with Ricciardo"), showing the ending of the story (45 illustrations total) Pagination: 12 unpaginated leaves [i-xxiv], pg. starts at A1, [1] 2-366. Vol. 2: Title-page: same as in vol. 1 but all in black and TOME SECOND. Collation: A-2D8 2E4, 56 in-text half-page vignettes. Pagination: [1,2] (t.p.), 3-427 (text) [13] (table, last page blank). Edition 1st edition, 2nd printing, edition of 1699 considered by most a re-issue of the 1697 edition. Description in Auction Sale Van Gendt, 1977, no. 1108: "The first, which has exactly the same collation was published by Gallet in 1697. It seems possible that the 1699 edition is, in fact, of the same issue, and that only the first quires of both volumes, which include the title pages were replaced by new ones with the new date, to make the book look more up to date. - The edition of 1702, also published by Gallet has "seconde édition", which, we think, sustains our theory." Binding: Two volumes uniformly bound by Chambolle-Duru in red crushed morocco, ruled gilt with triple-fillet, gilt dentelle inside, raised bands, gilt in compartments, AEG, marbled endpapers; to FEP verso in vol. 1 pasted a clipping, and in both volumes – bookplate “EX LIBRIS HELGE LOEWENBERG DOMP”. Provenance: Helge Loewenberg-Domp (Jewish-German, 1915 – 2021) Catalogue raisonnè: Landwehr (1970): № 88, p. 193 [LIB-2547.2020]. Contributors: Giovanni Boccaccio (Italian, 1313 – 1375) – author. Romeyn de Hooghe (Dutch, 1645 – 1708) – artist, etcher. Chambolle-Duru; René Victor Chambolle (French, 1834 – 1898), Hippolyte Duru (French, 1803 – 1884) – binder. George Gallet (Dutch, 17th-18th century) – printer, publisher. -
A woman from Antwerp or a servant, another title "Laitière anversoise"; 2nd state. Etching on wove paper. Owner's stamp LVM on verso.
Dimensions: Paper: 24.4 x 15.8 cm; Image: 12 x 7.5 cm
Catalogue raisonné: Arthur Hubschmid (1977): 343.
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Description: Bound in brown ¾ morocco over marbled boards by R. et R. Mativet (ink stamp to ffep verso), collated 4to, 26.4 x 20.7 cm, raised bands, gilt arabesque and lettering to spine, original glossy pink pictorial wrappers preserved, marbled endpapers, bookplate to front pastedown “ML”, to front fep “EX-LIBRIS | Jacques | Crépineau”; A.L.s. of Marcel Vertès pasted to one of the feps: "Biblis [6] rue Jacques Callot. Cher Monsieur Le Bodo, Voudriez-vous avoir l’amabilité et de céder un exemplaire de « Dimanche » à M. Risler à un prix très réduit? Merci d’avance. Bien à vous, Vertès". Jean Le Bodo – abord gérant de la Librairie Biblis (20, rue du Vieux-Colombier, Paris 6e), et en 1946, libraire au Livre de France, Paris 16e; Risler – probablement Jean-François Risler (1910-1952), fils d’un pianiste Joseph-Édouard Risler (1873 – 1929). Title-page: DAISY FELLOWES | Les | Dimanches | de la | Csse de Narbonne | ILLUSTRATIONS | DE | VERTÈS | ÉDITIONS DE France | 20, AVENUE RAPP, PARIS || Collation: 1 blank, front wrapper, π4 (2 blanks with A.L.s. pasted to the 2nd, h.t., t.p.), 1-244 χ4 (table, colophon, 2 blanks) back wrapper, 1 blank; total 104 leaves within the wrappers, numerous in-text and 7 full-page prints after drawings by Marcel Vertès, within collation. Pagination: [8] [1-2] 3-191 [192] [8], total 208 pages, ils. Limitation: printed on June 25, 1935 by Coulouma (Argenteuil) under the direction of H. Barthélemy, 20 copies (№1-20) on Japon blanc super-nacré + two suites, 80 copies on Japon a la forme (№21-100) + one suite, 900 (№101-1000) on Vélin blanc. This is copy № 598. Catalogue raisonné: Vokaer (Vertès) № 34, p. 15. Provenance: Jacques Crepineau (French, 1932 – 2017). Contributors: Daisy Fellowes [Marguerite Séverine Philippine Decazes de Glücksberg] (French, 1890 – 1962) – author Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga [国貞画] in a red double-gourd cartouche Publisher: Unknown (no seal). Date: c. 1832 Izzard: "... red cloth decorated with the characters Yauan, one of Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859) poetry names, and the name of his residence in Fukagawa. The absence of publisher's emblem and censorship seals may indicate that this was a privately issued print, not for public use". Ref.: [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 112-3, fig. 32). Size: Fan print (aiban uchiwa-e); 235 x 295 mm. -
Description: Oblong volume, 19.3 x 24.2 cm, hardcover in velvet with pasted image, in a pictorial slipcase; printed on glossy paper, unpaginated. Title-page (in frame): ERATO | GRAPHIKEN VON MIHÁLY ZICHY || Collation: (2) h.t., t.p., (30) leaves of plates (4) text by Éva Bros, bibliography, colophon; total 36 leaves. The plates are photomechanical offset copies made from the photogravures of 1911 Leipzig private press edition [SVE-0501.2021], which photogravures made from the original watercolours and crayon drawings produced by Zichy in 1874-1879; the original album of 51 compositions was sold at Christie’s sale of Gérard Nordmann collection on December 14-15, 2006 in Paris. See a copy of the Leipzig album № 285 in this collection [SVE-0501.2021]. -
Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: (Purple of Edo // Purple of the Bay Capital) [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Onoe Baikō IV [四代目尾上菊五郞] Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names: Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō. One of the series of Kunisada's fan prints in this collection: -
Softcover, pictorial wrappers, square 21 x 21 cm, 42 leaves, unpaginated, with illustrations in colour, 80 entries, with price list laid in; limited edition of 700 copies. Contributor: Israel Goldman -
Iron tsuba of round form (maru-gata) with 8 openwork petals outlined with brass wire (sen-zōgan) and decorated with brass dots (ten-zōgan), on both sides. Seppa-dai and hitsu-ana outlined with brass wire. Late Muromachi period (Ca. 1514-1573). Ōnin school. Unsigned. Dimensions (mm): 80.4 x 79.8 x 3.6 (center) 3.2 (rim). Similar tsuba in this collection: TSU-0374.2018
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Artist: Tsukioka Tanka [旦霞] (Japanese, fl. c. 1830s – 1840s). Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); seal: Enmata. Title: Picture of Fuji, Tsukuba and Sumida River [富士筑波隅田川の圖] (フジ ツクバ スミダガワ ノ ズ | Fuji Tsukuba Sumidagawa no zu). Date seal 巳 + kiwame: Tenpō 4 (1833). Media: Fan print (uchiwa-e, 団扇絵), 235 x 302 mm, aizuri-e. Only four prints are known from this artist, all fans: (1) National Diet Library 2542868:
(2) Ritsumeikan University mai30_07:
(3) RISD Museum 34.334:
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An essay by Sergei Petrovich Varshavsky [Сергей Петрович Варшавский] (Jewish-Russian, 1906 – 1980) about a poem Жди меня (Wait for Me, Zhdi menia) written by Konstantin Simonov [Константин Михайлович Симонов] (Russian, 1915 – 1979) in August 1941. Magazine, softcover, publisher’s wrappers, 20 x 12.5 cm, collated 16mo: [1]-916 (total 144 leaves), pp.: [2] 3-286 [2] (total 288 pages). Bimonthly (6 times a year) magazine "Вопросы литературы" (Questions of Literature, Voprosy literatury) published from 1957; circulation of 15,640 copies. Editor-in-Chief (1979-87): Мстислав Борисович Козьмин (Russian, 1920 – 1992).
