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Thérèse philosophe, 1783. |
Late 18th century books |
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Two volumes, 168 x 106 mm each, uniformly bound in faux mottled calf ruled in gilt, marbled endpapers. Vol. 1: 3 blank leaves of wove paper, 3 blank leaves of laid paper, half-title/blank, blank/frontispiece, ‘engraved’ t.p./blank, both printed on laid paper watermarked “ARCHES A LA | MAIN”; ‘letterpress’ t.p.,/blank, pp.: [1] 2-115 [116 blank], 3 blank leaves of laid paper, 3 blank leaves of wove paper; collated 12mo: π2 A-I6 K4; total 60 leaves plus 16 ‘engraved’ plates, incl. t.p. and frontis. Vol. 2: 3 blank leaves of wove paper, 3 blank leaves of laid paper, half-title/blank, blank/frontispiece, ‘engraved’ t.p./blank, no watermark, ‘letterpress’ t.p.,/blank, pp.: 1-77 [78 blank], 2 blank leaves of laid paper, 3 blank leaves of wove paper; collated 12mo: π2 A-F6 G3; total 41 leaves plus 24 ‘engraved’ plates, incl. t.p. and frontis. Dutel (I): A-1089, p. 325: in-8 (probably by size only, no formula suggested), pagination 115 and 77 as here, 2 frontispieces, 2 engraved titles dated 1873, “et 36 belles gravures de Binet”. Cohen-DeRicci: p. 734 bottom: in-12, no pagination, no formula. "Thérèse" was offered by a French seller user-75d14f4 on the online auction platform CATAWIKI in December 2021. The seller's description of this two-volume set was: "Re-edition, the date of which I was unable to determine. (London, no name, 1782) 2 duodecimo volumes of 115 and 77 pp., very lovely marbled sheepskin pastiche bindings, gilded triple fillets, adorned spines, black title labels. This classic of 18th-century clandestine erotica was written in 1748 by an author who has remained anonymous, attributed at the time to Montigny, which led to his internment in the Bastille. It is now attributed to the Jean-Baptiste de Boyer, Marquis d'Argens. Edition illustrated with 37 very unrestrained figures, engraved in intaglio after Borel, unsigned." I should have paid more attention to the first phase, about the re-edition, but I didn't. After a few bidding rounds, I won the book when the hammer price was 2,200 Euros. On the 28th of December, 2021, I paid for this little beauty $2,760. The book arrived a few days later. The paper's quality and texture, the watermark, the absence of the platemark, and the lack of embossing on the back (text and plates) made me suspect it was a fake. The pages were absolutely flat to the touch! I established clear evidence of a high-resolution 'xerox' copy using Celestron Micro Capture Pro micro-photography. I wrote to the seller and the auction platform, explaining my doubts regarding its authenticity. To prove my point, I include a few micro photos of the "Thérèse" and some books printed at the end of the 18th century. I explained why I considered it a fake and requested a return/refund. After two months of email exchanges, the seller and the platform refused to pay me back. Today is the 2nd anniversary of the purchase. I still have the book. To celebrate my carelessness, I included it in my library to warn fellow book collectors about buying from an unknown dealer via certain online auction platforms. Ref.: Bamber Gascoigne. How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink. — Thames and Hudson, 1995.
Books used for comparison: [LIB-2743.2021] Restif de la Bretonne. Les parisiennes, ou XL caractères généraux pris dans les mœurs actuelles, propres à servir à l’instruction des personnes-du-sexe / 4 vol. — Neufchâtel, et Paris: Guillot, 1787. [LIB-3027.2022] [Héliodore d’Emèse]. Amours de Théagènes et Chariclée: Histoire Éthiopique / 2 vol. — Londres [i.e. Paris]: [s.n.], 1743. [LIB-3252.2023] [Nicolas Chorier.] Le Meursius françois, ou entretiens galans d’Aloysia, orné de figures. — Cythere [i.e. Paris: Cazin], 1782. Below is a Xerox copy for comparison.
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Copper tsuba of slightly elongated round form carved in low relief (usuniku-bori, katakiri bori) with the design of a mythical creature: a horse, however, with divided hoofs, with anthropomorphic (human-like) face though with a vertically positioned third eye on the forehead, and a corn. Certain elements of the image accentuated with gold iroe. On the back: flowers and grasses carved in katakiribori technique. Shakudō fukurin.
Edo period.
Dimensions: 70.7 x 70.2 x 3.7 mm In a custom wooden box. -
A copper tsuba with ishime-ji ground carved and polished (migaki-ji) with sitting Daruma; his eyes are inlaid with shakudo and he has a golden earring. The reverse carved with four characters: 廓 然 無 性 (Kakunen-mushō). It is a Zen proverb that goes back to Bodhidharma (Daruma), meaning "boundless expanse and nothing that can be called holy." [Markus Sesko translation]. Shakudo fukurin.
Unsigned.
Edo period (circa 1800). Dimensions: 68.2 x 65.5 x 4.8 (center) x 3.2 (rim) mm -
Copper tsuba of slightly elongated round form carved in low relief (shishiaibori and sukisagebori) and inlaid in gold, silver and shakudō with the design of dreaming Rosei (Lu Sheng): he is half-sitting by the pillow with his eyes closed, holding his fan, with a scroll by his feet, surrounded by flying butterflies.
Edo period, first half of the 18th century.
Dimensions: 70.8 x 67.1 x 5.0 mm. Signed on the reverse: Jōi (乗 意) + Kaō. Sugiura Jōi [杉 浦 乗 意] (1701-1761) 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, pp. 148-149]. On Rosei (Lu Sheng) dream's legend see Legend in Japanese Art by Henri L. Joly (1908 edition) on page 293. -
Iron tsuba of ryō-mokko-gata form decorated with a spotted deer (Nara deer or sika deer) motif in low relief carving (sukidashi-bori) and flat silver inlay (hara-zōgan); deer's eyes and details in gold inlay. Signed on a copper cartouche: Noriyuki. Grass in low relief carving on the reverse. There were two Noriyuki in Hamano school - father (Noriyuki I, 1736-1787) and son (Noriyuki II, 1771-1852). Frankly speaking, I don't know which one made this particular piece. Edo period, late 18th or early 19th century.Size: 71.5 x 70.0 x 3.0 mm.
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An iron tsuba of oval form decorated with a water plantain (omodaka) carved in low relief and water drops inlaid in gold.
Signed: Bushū jū Masamitsu.
Bushū-Itō school.Height: 71.8; Width: 67.3; Thickness: 3.6; Weight: 96 g.
Mid to late Edo period; 18th-19th century.
There were several tsuba artists with the name of Masamitsu. The one who worked with iron and spelled [正光] is mentioned at Markus Sesko's 'Genealogies' on page 106 in Akasaka School of Edo section as Masamitsu Gorōbei , student of Tadatoki, 4th generation Akasaka master. The name is not mentioned at Torigoye/Haynes 'Tsuba. An Aesthetic Study' in the list of Bushū-Itō family masters on page 181. -
An iron tsuba of slightly vertically elongated circular form carved and pierced with a mass of ivy (tsuta) leaves and tendrils, details damascened with gold in nunome-zōgan technique. Hitsu-ana with raised rim.
Unsigned.
Chōshū school.Height: 72.0 mm; width: 69.0 mm; thickness: 4.7 mm; Weight: 92 g.
According to John W. Dower, "ivy bears fairly close resemblance to both maple leaf and grape leaf". However, I consider this tsuba decorated with ivy leaves for several reasons, such as the lack of racemations in the presence of tendrils. -
Iron tsuba of oval form carved with a landscape motif. Kogai-hitsu-ana plugged with shakudo. Sekigane of copper.
Signed: Chōshū Hagi-jū Tomohisa saku (長州萩住友久作).
Tomohisa, adopted son of Rokurō'emon, was 3rd generation master of Kawaji School from Hagi in Nagato (Chōshū), lived 1687-1743 [M. Sesko 'Genealogies', page 117].
Edo period, circa 1700. Dimensions: 71.1 x 66.8 x 2.9 mm For his adopted son Hisatsugu work see TSU-0103 in this collection. -
Iron tsuba pierced and carved (marubori-sukashi) with the 'horse in the round' design. Possibly, Bushū-Ito school, 19th century (ca. 1800). Kogai-hitsu-ana plugged with shakudō.
Size: 67.6 x 66.8 x 5.1 mm
Unsigned.
See:
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- Robert E. Haynes. Study Collection of Japanese Sword Fittings. Nihon Art Publishers, 2010, p. 120: Iron plate carved and formed in the round as a tethered bull...Signed: Bushū jū Sadayasu saku.
- Robert E. Haynes. Masterpiece and highly important tsuba, etc... San Francisco, 1984 // Catalog #9.: Signed: Bushū jū Yoshifusa. Ca. 1800, H 6.7 cm, Th. 4.75 mm.
- The Hartman collection of Japanese metalwork. Christie's, 1976, p. 29, №59: Bushū type, 19th century. Reference to Takezawa, Nihon Toban Zuetsu №411 for a similar design signed Bushū Yoshifusa.
4. Japanese Sword Fittings from the R. B. Caldwell Collection. Sale LN4188 "HIGO". Sotheby's, 30th March 1994, p. 17, №24: An iron tsuba, by Heianjo Sadatsune, Edo period (18th century). In the form of a horse, standing with its head lowered and a rope halter attached to its bit and trailing beneath. Signed Heianjo Sadatsune, 7.3 cm. With NBTHK Tokubetsu kicho paper, dated Showa 49 (1974). GBP 600-700.
Hartman collection, №59.
The Caldwell Collection. Heianjo Sadatsune, Edo period (18th century).
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Iron tsuba of mokkō-form with a pine and a frog on the face and a snail on the back, carved and inlaid with gold. Each figurative element of the design is signed on three inlaid cartouches: Masaharu (正春), Kazuyuki (一之), and Yoshikazu (良一) [read by Markus Sesko]. Snake, snail, and frog together make a design called "SANSUKUMI" - Three Cringing Ones [Merrily Baird]. The snail can poison the snake, the frog eats the snail, and the snake eats the frog. It's unclear whether the pine replaces the snake on this tsuba, or the snake is hiding in the pine? Anyway, the frog and the snail are clearly represented. "Maybe we have here a joint work with Masaharu (the silver cartouche next to the pine) being the master and making the plate and Kazuyuki and Yoshikazu as his students carving out the frog and the snail respectively". Copper sekigane.
Dimensions: 70.9 x 67.2 x 3.0 mm. Edo period (18th century).Markus Sesko writes: "I agree, the frog and the snail most likely allude to the san-sukumi motif. It is possible that we have here an artist's choice to deliberately leave out the snake, maybe he thought that the motif is already obvious and there is no need to add a snake to make it clear that the tsuba shows the san-sukumi motif." [Markus Sesko].
Kazuyuki (一之): adopted son of Kumagai Yoshiyuki, student of Ichijō (Gotō-Ichijō Scool) [M. Sesko 'Genealogies', page 19.] Masaharu (正春): Kasuya fam., student of Masamichi (1707-1757) who was the 4th generation Nomura School master in Edo. [M. Sesko 'Genealogies', page 49.] -
Iron tsuba of circular form with a branch of loquat (biwa) pierced in positive silhouette (ji-sukashi) and carved in marubori technique (marubori-sukashi). Kozuka and kogai hitsu-ana are plugged with shakudo.
Signature: Choshu Kawaji ju Hisatsugu saku. Chōshū school in Nagato province.
According to M. Sesko 'Genealogies' Hisatsugu was a 4th generation Kawaji School master from Chōshū (present day Nagato), with the name Gonbei, formerly Toramatsu, adopted son of Tomohisa (1687-1743) [page 117]. For Tomohisa work see TSU-0104 in this collection. -
Iron tsuba of round form decorated with the design of distant pines, torii, and crescent moon in openwork (sukashi). Copper sekigane.
Size: 84.9 x 84.8 x 5.8 mm.
Unsigned.
Edo period, ca. 1750.
Tosa Myochin or Akasaka school.Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton (Part I). Christie's, New York, March 31, 1992, pp. 28-29, № 53:
"A Tosa Myochin School Tsuba. Edo period (circa 1750), signed Toshu ju Kuniyoshi saku. The round iron plate pierced with a design of a temple gate (torii) and a pine tree. It has a round rim and there are some carved details on the surface of the design. The Tosa Myochin school, despite its foundation in the classic Myochin armor school tradition, worked mainly in the style of Akasaka school of Edo. [...] Many are equal to the mid to later Akasaka school work and the two types have frequently been confused. Signed examples are rare. Estimated price $1,500-2,000."
Compton Collection, Vol. 1, №53
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Silver Kozuka carved in kebori ("hair carving") with a ukiyo-e style half-length figure of a beautiful woman (possibly a courtesan) dressed in a splendid kimono and hair ornament (kanzashi). Signed on the back: Koreyasu/Zetai + kaō (是休「花押」) - transcribed by Markus Sesko. Size: 96.8 mm (H) x 14.9 mm (W). Edo period, early 19th century. I managed so far to find the only mention of Koreyasu at Japanese sword-mounts. A descriptive catalogue of the collection of J. C. Hawkshaw, Esq., M.A., of Hollycombe, Liphook. Complied and illustrated by Henri L. Joly. London, 1910 [LIB-1439 in this collection], page 204: 2623. — F./v., nigurome, chased in relief and inlaid with Omori Hikoshichi (large faces). Signed : Koreyasu of Yedo. xix. 2624. — F.K., nigurome, chased and inlaid in relief with Omori Hikoshichi and the witch. Signed : Shinriusha Koreyasu. No pictures of items or signature provided. -
Large oval form tsuba decorated with two human figures (scholar and attendant) under the pine tree admiring a view of a waterfall on the face of the plate, and with stylized dragons carved on the reverse among the symbols of thunder inlaid in gold. The plate is carved in low relief with details inlaid with gold and silver.
Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō. It is a fake signature (
gimei). Size: Height: 91.9 mm; Width: 85.6 mm; Thickness: 3.4 mm; Weight: 169 g.
This is a late Edo period, 19th-century export work to cater to the tastes of the European tsuba collectors. It does not have anything in common with the work of great Kaneie masters.
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Sentoku tsuba of oval form with Sennin (Chinese immortal) motif carved in low relief (katakiribori). The Sennin is depicted with a double gourd in his right hand and a child beside his left hip. A pine tree carved on the reverse.
Signed: Sōmin saku (宗眠作) [M.Sesko]. Yokoya School (see The Japanese toso-kinko Schools by Markus Sesko, pp. 133-8).
Edo period (second half of the 18th century). Dimensions: Height: 61.6 mm; Width: 56.4 mm; Thickness: 4.2 mm; Weight: 85 g. -
Iron tsuba of round form decorated with design of keys to the storehouse of the gods in openwork (sukashi). Rounded rim. Copper sekigane.
Unsigned. Early Edo period, 17th century.
Size: 71.0 x 70.9 x 6.0 mm.Merrily Baird, Symbols..: The Key to the Storehouse of the Gods, one of the Myriad Treasures.
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Iron tsuba of oval form pierced with design of slanting rays of light (shakoh), a Christian motif (Jesuit’s IHS symbol), and a pair of tassels in positive silhouette (ji-sukashi). Details on tassels carved in low relief. Traditional description of this kind of design is called “tokei”, or “clock gear”. Rounded rim.
Unsigned.
Edo period, 17th or 18th century. Possibly - Owari school.
Size: 76.0 x 73.0 x 6.2 mm. -
"Разговоры Макиавелли и Монтескье в царстве мертвых” (Dialogue aux Enfers entre Machiavel et Montesquieu) – это политический памфлет, направленный против Наполена III. В 25 диалогах представитель эпохи Просвещения благородный барон де Монтескье отстаивает позиции умеренного правления и соблюдения прав личности, а флорентийский политик Средневековья злокозненный Макиавелли берется доказать своему собеседнику, что управлять людьми можно только силой и хитростью, и что деспотия — это потребность современного общества. Собеседники заключают пари. Макиавелли шаг за шагом описывает те действия, которые предпринял Наполеон III для установления деспотии во Франции, и выигрывает пари.
В начале XX века «Разговоры» Жоли были использованы в царской России для изготовления антисемитской фальшивки — печально знаменитых «Протоколов сионских мудрецов», книги, переведенной на все языки мира и своими тиражами уступающей только Библии. Плагиат был разоблачен корреспондентом газеты «Таймс» Филипом Грейвсом в 1921 г. Сравнением текстов “Разговоров” и “Протоколов”, равно как и поиском автора плагиата, занималось не одно поколение исследователей. В наше время о “Разговорах” знают в основном благодаря “Протоколам”, но книга Жоли представляет интерес отнюдь не только в связи с означенными “Протоколами”. Единственный до сих пор перевод “Разговоров” на русский язык был выпущен в 2004 году издательством “МК-Трейд” под названием “Диалог в аду между Макиавелли и Монтескье”. Это был перевод с немецкого перевода с французского языка. Предлагаемое читателю новое издание книги Жоли является переводом с французского оригинала, хотя и достаточно вольным, что отражено в заголовке: Разговоры Макиавелли и Монтескье в царстве мертвых, записанные злосчастным французом Морисом Жоли в правление императора Людовика-Наполеона и пересказанные полтора века спустя для русского читателя нашим современником. Морис Жоли писал о “политике макиавеллизма в XIX веке”. Однако теперь очевидно, что и в XXI веке политика макиавеллизма не претерпела существенных изменений. Старинный рецепт установления деспотии “в одной, отдельно взятой стране” хорош и по сей день.Published in San Francisco, California.
Paperback, size: 110 x 148 x 10 mm
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The right sheet of (optional) triptych: Geisha (Geiko) and kabuki actor Iwai Hanshirō V as Katanaya Hanshichi from Three pleasures of present-day Osaka (Tōsei Naniwa no sankō)「当世浪花の三興 芸子」 「刀屋半七」五代目岩井半四郎. Publisher: Iseya Rihei [伊勢屋利兵衛] (Japanese, fl. 1790s – c. 1879) Year: 1821 (Bunsei 4). Size: Vertical ōban; 36.5 x 25.2 cm. Signed: 於浮瀬亭国貞画 – Drawn by Kunisada in Ukabuse (Ukabuse ni oite Kunisada ga). Ukabuse is the name of a famous restaurant in Osaka, this signature can be found only on a three print bijin series [Kunisada Project]. Censor's seal: kiwame 改印：極 Actor Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Character: Katanaya Hanshichi [刀屋半七] Ref: MFA ACCESSION NUMBER 11.21938; LIB-2967.2022 Izzard. Full series (triptych) Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō):
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Л. Ф. Лосев. История античной эстетики. Итоги тысячелетнего развития: В 2-х книгах. Книга I. - М.: Искусство, 1992. -- 656 с. ISBN 5-210-02464-4 (кн. 1)
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Torii Kiyomitsu II (Kiyomine), Japanese, 1787–1868. Courtesan and her Komura (Doll Festival). Series: Furyu Goyo no Matsu (Customs of 5 Pine Needles, the 5 great festivals). Publisher: Tsuruya Kiemon [Marks: 553]. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Nishimuraya Yohachi [西村屋与八] (Japanese, fl. c. 1751 – 1860), seal name: Eijudō. Date: c. 1821–22 (Bunsei 4–5) Size: Ōban tate-e triptych, each sheet 36.8 x 26.4 cm. Signed: 五渡亭国貞画 – Gototei Kunisada ga (on center sheet). Censor’s seal: kiwame 改印: 極 A view of the dressing room of a Theater in Dōtonbori, Ōsaka (Ōsaka Dōtonbori shibai gakuya no zu): Right sheet: Actors Bandō Mitsuemon I, Asao Tamejūrō III, Ichikawa Danzō V, Nakamura Utaemon III, Bandō Mitsugorō III (in a costume of Matsuômaru), Kiriyama Monji III, Nakamura Utashichi II, Arashi Shôroku IV, Nakamura Matsue III, Matsumoto Kōshirō V, Ichikawa Komazō V. Centre sheet: Arashi Mitsugorō III, Mimasu Daigorō III, Nakayama Bunshichi III, Ichikawa Ichizō II, Bandō Minosuke II, Ichikawa Omezō I, Arashi Kitsusaburō I, Nakamura Utaroku I, Kataoka Nizaemon VII, Ōtani Tomoemon III, Asao Yūjirō I. Left sheet: Asao Kuzaemon I, Arashi Hidenosuke III, Sawamura Gennosuke II, Iwai Ōginosuke, Sawamura Kunitarō II, Iwai Matsunosuke I, Ichikawa Sōzaburō IV, Iwai Hanshirō V (in a costume of Sakuramaru), and Ichikawa Shinzō III (L). The actors are making up for a performance of the “Carriage-Stopping” scene from Sugawara Denju Tenarai Kagami (Sugawara Denju and the Secrets of Calligraphy). References: MFA Accession №: 11.43384a-c; Catalogue Raisonné: Izzard, Kunisada’s World (1993), #34; Hizô Ukiyo-e taikan/Ukiyo-e Masterpieces in European Collections 5, Victoria and Albert Museum II (1987), pl. 22; Keyes, PMA Osaka cat. (1973), #250 and pl. 15 (The theatrical world of Osaka prints, by Roger S. Keyes and Keiko Mizushima, Philadelphia Museum of Art, 1973), pp. 70-71); Izzard, Kunisada's world revisited, 2021; V&A Accession № E.5995-1886. Kabuki actors on this print: Arashi Hidenosuke III [嵐秀之助] (Japanese, fl. 1794 – 1837); other names: Arashi Koshichi IV, Arashi Hinasuke IV, Arashi Sanjūrō VI, Kanō Hidenosuke II, Kanō Umetarō, Arashi Iwajirō III. Arashi Kitsusaburō I [嵐橘三郎] (Japanese, 1769 – 1821); other names: Arashi Kichisaburō II, Arashi Rikan I. Arashi Mitsugorō III (Japanese, ? – ?) Arashi Shōroku IV [四代目嵐小六] (Japanese, 1783 – 1826) Asao Kuzaemon I [浅尾工左衛門] (Japanese, 1758 – 1824); other names: Asai Kuzaemon Nakayama Tashirō II Takeda Nisaburō. Asao Tamejūrō III [三代目淺尾爲十郎] (Japanese, 1780 – 1836); other names: Asao Okuyama III, Asao Okuyama III, Asao Tomozō I. Asao Yūjirō I [浅尾勇次郎] (Japanese, 1782 – 1835); other names: Jitsukawa Gakujūrō I, Asao Gakujūrō, Nakamura Yaozō, Asao Yaozō. Bandō Minosuke II [坂東蓑助] (Japanese, 1802 – 1863); other names: Morita Kan'ya XI, Bandô Mitsugorō IV. Bandō Mitsuemon I [坂東三津右衛門] (Japanese, 1788 – 1846); other names: Bandō Kumahei [坂東熊平]. Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775 – 1831); other names: Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. Ichikawa Danzō V [市川団蔵] (Japanese, 1788 – 1845); other names: Ichikawa Shikō I, Ichikawa Danzaburō IV, Ichikawa Danjirō I, Ichikawa Morinosuke I. Ichikawa Ichizō II [市川市蔵] (Japanese, 1806 – 1829); other names Ichikawa Ebijūrō II, Ichikawa Sukezō I. Ichikawa Komazō V [市川高麗蔵] (Japanese, 1812 – 1849); other names: Matsumoto Kinshō I, Matsumoto Kōshirō VI, Matsumoto Kinshi. Ichikawa Omezō I [市川男女蔵] (Japanese, 1781 – 1833); other names: Ichikawa Benzō II, Ichikawa Bennosuke. Ichikawa Shinzō III [市川新蔵] (Japanese, 1793 – 1837); other names: Ichikawa Sumizō III, Nakayama Tomisaburô II, Nakayama Kinsha, Nakayama Tomisaburō II, Ichikawa Komazō IV, Ichikawa Santarō. Ichikawa Sōzaburō IV (Japanese, ? – ?) Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Iwai Matsunosuke I [岩井松之助] (Japanese, 1804 – 1845); other names: Iwai Hanshirō VII, Iwai Shijaku I, Iwai Komurasaki I. Iwai Ōginosuke (Japanese, ? – ?) Kataoka Nizaemon VII [七代目片岡仁左衛門] (Japanese, 1755 – 1837); other names: Yamazawa Kunigorō, Asao Kunigorō II, Nakamura Matsusuke. Kiriyama Monji III [桐山紋治] (Japanese, fl. c. 1803 – 1830); other names: Ichikawa Takigorō. Matsumoto Kōshirō V [五代目松本幸四郎] (Japanese, 1764-1838); other names: Ichikawa Komazô III, Ichikawa Sumizô I. Mimasu Daigorō III [三枡大五郎] (Japanese, 1782 – 1824); other names: Mimasu Seibē, Yoshizawa Kamezō. Nakamura Matsue III [三代目中村松江] (Japanese, 1786-1855); other names: Nakamura Sankō I, Nakamura Tomijūrō II, Ichikawa Kumatarō. Nakamura Utaemon III [中村歌右衛門] (Japanese, 1778 – 1838); other names: Nakamura Tamasuke, Nakamura Baigyoku I, Nakamura Shikan I, Kagaya Fukunosuke I. Nakamura Utaroku I (Japanese, ? – ?) Nakamura Utashichi II (Japanese, ? – ?) Nakayama Bunshichi III [三代目目中山文七] (Japanese, 1764 – 1853); other names: Nakayama Hyakka, Nakayama Hyōtarō I, Nakayama Tokusaburō. Ōtani Tomoemon III [大谷友右衛門] (Japanese, 1793–1839); other names: Arashi Shagan IV, Arashi Sanpachi II, Nakayama Monzaburō. Sawamura Gennosuke II [沢村源之助](Japanese, 1802/7 – 1853); other names: Suketakaya Takasuke III, Sawamura Chōjūrō V, Sawamura Sōjūrō V, Sawamura Tosshō I, Sawamura Genpei I. Sawamura Kunitarō II [沢村国太郎](Japanese, 1798 – 1836); other names: Ogino Kinshi, Ogino Yaegiri III, Ogino Kamekichi, Izumikawa Kamekichi. -
Kyo-sukashi iron tsuba of round form with design of hollyhock (aoi ) and wild geese. Slightly rounded rim. Copper sekigane. Momoyama period, late 16th - early 17th century. Height: 82.6 mm, Width: 82.1 mm, Thickness at seppa-dai: 4.5 mm. NTHK (Nihon Token Hozon Kai) certified. -
Woodblock print album of thirteen prints, ōban, nishiki-e. Artist: Chōkyōsai Eiri [鳥橋斎 栄里] (Japanese, fl. c. 1789 ~ 1801 ). Models of calligraphy (Fumi no kiyogaki), New Year 1801. This title is taken from Chris Uhlenbeck's Japanese Erotic Fantasies Sexual Imagery of the Edo Period. — Hotei Publishing, 2005, ISBN 90-74822-66-5):. A detailed description of the album can be found at The Complete Ukiyo-e Shunga №9 Eiri, 1996, ISBN 4-309-91019. Most of the edition is in Japanese, though Richard Lane writes a section in English: Eiri: Love-letters, Love Consummated: Fumi-no-kiyogaki. The article starts with the following statement: "Why all the fuss about Sharaku? Because he is so "mysterious"? No, not at all: because he is such a good artist. But Sharaku is not the only great yet enigmatic ukiyo-e artist and I propose to resurrect here one of his important contemporaries who has been all too long neglected: Chōkyōsai Eiri. As with many of the notable ukiyo-e masters, nothing is known of Eiri's biography. All we can say is what we learn from his extant prints and paintings: that he flourished during the second half of the Kansei Period [1789-1801]; and that he was a direct pupil of the great Eishi - who, being of eminent samurai stock, may well have attracted pupils of similar background." Another citation from Japanese Erotic Fantasies: "This album is one of the boldest sets of ōban-size shunga known, The first edition contains thirteen instead of the customary twelve designs". Here I present all thirteen prints, though the edition I bought in Kyoto in 2014 contained only twelve. The thirteenth print was purchased later in the United States (sheet №12).
№1: "...one of the most exotic scenes in all shunga. A Dutch kapitan is discovered coupling with a lovely Japanese courtesan, beside a large window opening upon a garden...".
№2: "...a fair young harlot is seen masturbating with a grinding-pestle - a man watches intently from under bedding." [I have two specimens of this design; the one from album is more soiled but less faded].
№3: "...the artist has effectively contrasted the lovers by depicting the man's face as seen through the geisha's gauze skirt. [...] we are impressed more by strikingly elegant composition, the dramatic coloring, rather than feeling any great urge to participate in the energetic proceedings..."
№4: "This scene is a most straightforward one, featuring the standard Missionary Position [capitalization by R. Lane].; but withal, the contrast of the young and naked, secret lover and the richly-clothed courtesan amid luxurious bedding..."
№5: "In a striking lesbian scene (which has no equivalent in Utamaro, and is, incidentally, often omitted in later editions of this album), the girl at left prepares to receive the harikata (dildo) worn by the older girl at right (who holds a seashell containing lubricant)."
№6: "In the first appearance of a matronly heroine in this series, we find a widow - with shaven eyebrows and clipped hair - sporting with a handsome yound shop-clerk, mounting him with all her might."
№7: "... lady of samurai court: here, shown taking advantage of an official outing to temple and theatre, to rendezvous with a secret lover on a teahouse balcony." R. Lane considers this design the least successful in the series, especially in comparison with the same theme by Utamaro: "Utamaro female is almost ferocious in her lust for sexual gratification", which does not sound true to me. See Utamaro's sheet №5 from the album Utamakura (歌まくら, Poem of the Pillow) [courtesy The British Museum without permission]:
Then, as Richard Lane states, "we are flung suddenly to the bottom rung of Edo society":
№8: "Here we find a fair yotaka ('night-hawk', e.i. streetwalker) accommodating a lusty client in a lumberyard by the bank of the Sumida River".
№9: '... a slightly plump harlot of the lower class receives a night visit from her lover, whose naked form she tries to cover with a cloak."
№10: "...likely maidservant and lackey - are depicted in bath-room, their passions are all too obviously fired by steaming water."
№11: "...this scene of courtesan and secret lover ranks high not only in Eiri's œuvre but also in the annals of the ukiyo-e genre itself. Both design and colouring are impeccable and, for this period, there is nothing even in the work of great Utamaro that really surpasses it." Again, a doubtful statement, however, this is Utamaro's design for the reader to judge:
The last design in my album is this:
#13: In most reference books it goes under number 13, and we will assign this number to the sheet. "The final scene of the album features naked participants, probably samurai man and wife. The print is rather subdued in tone and colour, if not in the degree of the passion displayed..."
An additional sheet, acquired separately from a reputable dealer in New York, is usually listed as №12:
№12: "One might think that Eiri has reached his peak with the preceding plate 11 - and indeed he has, in both esthetic and erotic terms. But the album is not yet finished, and the next scene lends a needed variety to the series, a slightly comic tableau featuring a middle-aged lackey attempting to forcibly seduce a servant girl of the same domicile". Utamaro's design, that inspired Eiri is here:
All descriptions are taken from Richard Lane's article at The Complete Ukiyo-e Shunga №9 Eiri, 1996. He concluded: "...Eiri's erotic series represents a major contribution to shunga art towards the close of ukiyo-e "Golden Age". In part inspired by Utamaro's classic album, this series withal constitutes a unified and original achievement, providing a cumulative effect of gracefully elegant yet glowing eroticism, which remains in the mind's eye long after the pictures themselves are far away."
I only would like to mention here that in several reference sources this album goes under name of Eisho; unfortunately, this mistake is reproduced at www.ukiyo-e.org, which miraculously shows exactly my print, but under the wrong name of the artist. The same mistake can be found at Shunga. The art of love in Japan. Tom and Mary Anne Evans. Paddington Press Ltd., 1975. ISBN 0-8467-0066-2; plates 6.74-6.77: Chōkyōsai Eishō, c. 1800. Even the British Museum edition of 2010 gives the same erroneous attribution: Chōkyōsai Eishō (1793-1801); they provide the following translation of title: "Clean Draft of a Letter" [see: Shunga. Erotic art in Japan. Rosina Buckland. The British Museum Press, 2010; pp. 110-112]. To the honour of the British Museum, I must admit that they have corrected themselves in Shunga. Sex and pleasure in Japanese art. Edited by Timothy Clark, et al. Hotei Publishing, 2013. Now, they say Chōkyōsai Eiri (worked c. 1790s-1801); they also provide a new title: "Neat Version of the Love Letter, or Pure Drawings of Female Beauty". I have already mentioned Richard Lane's version of title: "Love-letters, Love Consummated", and Chris Uhlenbeck's "Models of calligraphy". In poorly designed and printed Shunga. Erotic figures in Japanese art. Presented by Gabriele Mandel. Translated by Alison L'Eplattenier. Crescent Books, New York, 1983, the artist is named Shokyosai Eisho (beginning of the 19th century); title provided: "Models of Calligraphy". Correct attribution to Chōkyōsai Eiri also can be found at Poem of the pillow and other stories by Utamaro, Hokusai, Kuniyoshi and other artists of the floating world. Gian Carlo Calza in collaboration with Stefania Piotti. Phaidon Press, 2010; though the title is translated as "Clean Copy of Female Beauty".
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Circular form tsuba made by a mirror-maker, i.e. kagamishi. Cast yamagane plate with design of six persimmons on their peduncles surrounded by leaves. Slightly raised rounded square rim. Hitsu-ana is brutally cut later in time. Copper sekigane. Early Muromachi period (1393-1457) or earlier. The inscription on the box reads: "Kamakura or Muromachi Period. Yamagane Tsuba". Dimensions: 81.9 x 81.6 mm; thickness at seppa-dai 2.8 - 3.0 mm, rim 3.4 mm. -
Iron tsuba of round form represents an eight-spoke Wheel-of-the-Law and in the same time (because of the inner shape of cut-outs) - a sixteen-petal imperial chrysanthemum in openwork (sukashi). Decorated on both sides with vines, leaves, and tendrils in suemon-zōgan and sen-zōgan. Spokes and hitsu-ana decorated with rope-like linear brass inlay (nawame-zōgan). A somewhat look-a-like tsuba is referenced in Gary D. Murtha's Japanese Sword Guards. Onin-Heianjo-Yoshiro book on page 61. Mr. Murtha attributes his piece to Heianjo school of Azuchi-Momoyama or early Edo period. However, tsuba in this collection looks older and bolder than the one in his book. It is larger (84 mm vs. his 66 mm), the spokes are longer, the inlay is of better quality, it is relatively thin, with deep black patina, and with the traces of lacquer (urushi). This may indicate that this tsuba belongs to Ōnin school and dates at least to late Muromachi period, ca. 1550, if not 1450 AD. Mid to late Muromachi period (ca. 1450-1550). Dimensions: 84.3 x 83.2 x 3.2 mm "In Japan, the Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the principal deity of Shingon Buddhism [Merrily Baird]. May be used as a family crest (mon).
Gary D. Murtha's tsuba on page 61.
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Mokkō-form (kirikomi-mokkō-gata) iron plate of grey colour decorated on both sides with waves, reeds, cloud, pagoda, and thatched hut in low relief (sukidashi-bori). The kozuka-hitsu-ana is original, the kogai-hitsu-ana probably cut later (lacks raised rim, fuchidoru). Wide (5.7 mm) raised rim of rounded square dote-mimi type, decorated with fine cross-hatching. Momoyama period, 16th century. Dimensions: Height: 75.9 mm, width: 76.4 mm, Thickness at seppa-dai: 2.3 mm, at rim 4.4 mm. Kamakura-bori tsuba of such a form is unusual. The rim is also unusual; it is possible that cross-hatching was done as a preparatory step for damascening, or the the damascening (gold or silver) disappeared with passage of time.
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Iron tsuba of square with cut-off edges form (sumi-iri-kakugata) with lattice design in openwork (sukashi) and pierced center.
Unsigned. Late Muromachi period, ca. 16th century.
Size: 73.2 x 72.4 x 3.6 mm References: 1) Tsuba Kanshoki. Kazutaro Torogoye, 1975, p. 95, lower image. It's also called Kyō shōami. 2) KTK-11: Koshi motif, Late Muromachi (16th c.) -
Portrait of Russian actress Maria Gavrilovna Savina, a lithograph on tan paper, by artist Osip Braz, 1900.
Maria Gavrilovna Savina (Мария Гавриловна Савина), a renowned Russian stage actress, born as Maria Podramentsova (Подраменцова) on April 11, 1854 in Kamianets-Podilskyi (Ukraine, Russian Empire) and died on September 21, 1915, in Saint Petersburg. Osip Emmanuilovich Braz (Осип Эммануилович Браз; 16 January 1873 in Odessa - 6 November 1936 near Paris) was a Russian painter of Jewish descent. Imprisoned by the Soviets in 1924 (the Solovki special prison-camp), released in 1926 and emigrated to Germany in 1928. Married to Lola Landshoff. http://russia-ic.com/people/culture_art/b/805/ "All his family members suffered from severe tuberculosis. After losing his wife Lola Lantsgof and both sons, he spent the last year of his life alone. Osip Braz passed away on November 6, 1936, and was laid down to rest at the Bagneux Cemetery in Paris." Buried at Bagneux, Hauts-de-Seine, Île-de-France, France. -
An annual publication of Kokusai Tosogu Kai / 16th International Convention & Exhibition in Hamburg, Germany: Museum Für Kunst Und Gewerbe / Museum of Arts and Crafts, September 11-12, 2020 and Berlin, Germany: Samurai Art Museum, September 13-14, 2020. Publisher: Tokyo: Kokusai Tosogu Kai, 2020. Pagination: [1-3] 4-103 [1]. Size: Medium 4to (30.3 x 21.6 cm), hardcover, original illustrated paper boards, in a slipcase. Tsuba from this collection depicted on the title page and pp. 59-60: TSU-0342.2017, TSU 0376.2018, and TSU 0379.2018. See also here. -
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Artist: 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 red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Double nanushi censor seals: Hama & Magome, Kaei 2-5 (1849 – 1852). An uncut fan print (uchiwa-e, 220 x 292 mm) depicts a beautiful woman sitting on a balcony overlooking a bay and reading a book. Above the book, there is an obi with a pattern of stripes or modified key fret motif, with lettering that reads: 菅原島 [Sugawara-jima] and 美立 [mitate]. The lettering and the blossoming plum branch next to the obi provide an allusion to Sugawara no Michizane [菅原 道真/菅原 道眞] (Japanese, 845 – 903) - a prominent scholar and poet of Heian period exiled from Kyoto to the island of Kyushu as a result of another courtier's slander. A legend says that his beloved plum tree was so fond of its master that it flew to Kyushu with Sugawara. The Davis Museum at Wellesley College describes the print as belonging to the series A Parody of Sugawara Stripe Patterns (Mitate Sugawara-jima). To make the fact of an allusion transparent, Kunisada had changed the usual way of writing "Sugawara stripes" from 菅原縞 to 菅原島 and "mitate" from 見立 to 美立. An unusual spelling was also used to provide additional information to the reader in other cultures. E.g. during the Prohibition Era, the West Coast United States speakeasy bars and bordellos misspelt the items on a menu ("scollops") or in a neon sign ("Martuni's") to tell: here we have more pleasures for you than you may have expected. After Tenpō reforms, the printing of bijin-ga (美人画, "picture of beautiful woman") images was restricted. Our print disguises a typical bijin-ga as an advertisement of an obi (帯, a kimono sash) fabric pattern. "The market of portraits was satisfied and the authorities fooled" [Rebecca Salter. Japanese popular prints. — Honolulu: University of Hawaii Press, 2006]. -
Title in black and red: LIFE IN ENGLAND | in Aquatint and Lithography | 1770—1860 | ARCHITECTURE • DRAWING BOOKS | ART COLLECTIONS • MAGAZINES | NAVY AND ARMY • PANORAMAS ETC. | FROM THE LIBRARY OF J. R. ABBEY | — | A BIBLIOGRAPHICAL | CATALOGUE | — | LONDON | PRIVATELY PRINTED | AT THE CURWEN PRESS | 1953 || Pagination: 2 blank leaves, [2] – limited edition 114 of 400 / blank, [i, ii] – h.t. / blank, [2] blank / frontis., [iii, iv] – t.p. / printer, v – contents, [vi] –blank, vii-ix – list of plates, [x] – blank, xi-xiii – list of ill., [xiv] – blank, xv-xxi – preface, xxii – blank; [1, 2] f.t. / blank, 3-427 [428], 2 blank leaves. Binding: Hardcover, 32 x 25.5 x 6.5 cm; brown cloth, red label with gilt lettering to spine, tan DJ with lettering to front and spine. -
Title vol. 1: XIX CENTURY FICTION | A BIBLIOGRAPHICAL RECORD | BASED ON HIS OWN COLLECTION | BY | MICHAEL SADLEIR | IN TWO VOLUMES | VOLUME I | PRINTED AT THE UNIVERSITY PRESS, CAMBRIDGE | AND PUBLISHED | in Great Britain by | / CONSTABLE & CO LTD | 10–12 ORANGE STREET | LONDON W.C.2 / in the U.S.A. by the | CALIFORNIA UNIVERSITY | PRESS | LOS ANGELES, CAL.|| DJ vol. 1: XIX CENTURY FICTION | A BIBLIOGRAPHICAL RECORD | BASED ON HIS OWN COLLECTION | BY | MICHAEL SADLEIR | IN TWO VOLUMES | VOLUME ONE | Passages from the Autobiography of a Bibliomaniac | Explanatory Guide – Acknowledgements | FIRST EDITIONS IN AN AUTHOR-ALPHABET | COMPARATIVE SCARCITIES || Pagination: [4 blanks] ix-xxxiii, [2] 3-398 [399] [2 blanks] Collation: 4to; π2 [a]-d4 [1]-504. Title vol. 2: XIX CENTURY FICTION | A BIBLIOGRAPHICAL RECORD | BASED ON HIS OWN COLLECTION | BY | MICHAEL SADLEIR | IN TWO VOLUMES | VOLUME II | PRINTED AT THE UNIVERSITY PRESS, CAMBRIDGE | AND PUBLISHED | in Great Britain by | / CONSTABLE & CO LTD | 10–12 ORANGE STREET | LONDON W.C.2 / in the U.S.A. by the | CALIFORNIA UNIVERSITY | PRESS | LOS ANGELES, CAL.|| DJ vol. 2: XIX CENTURY FICTION | A BIBLIOGRAPHICAL RECORD | BASED ON HIS OWN COLLECTION | BY | MICHAEL SADLEIR | IN TWO VOLUMES | VOLUME TWO | “YELLOW-BACK” COLLECTION | FICTION SERIES || Pagination: [2 blanks] [8] [2] 3-195 [196 blank] [2 blanks]. Collation: 4to; π4 1-234 246. Binding: burgundy cloth, gilt vertical lettering to spine, Verity Hewitt (Canberra, AU) bookshop sticker to front pastedown; laid paper; cream DJ with lettering to front and spine. Edition: First limited edition of 1025 of which 1000 for sale. Unnumbered. -
2 volume set. Vol. 1. Title: Typographia, | OR THE | Printers' Instructor : | INCLUDING AN ACCOUNT | of the | ORIGIN OF PRINTING, | with | Biographical Notices of the Printers of | England, from Caxton to the close | of the Sixteenth Century : | A Series of | Ancient and Modern Alphabets, | and | DOMESDAY CHARACTERS : | Together with | An Elucidation of every Subject con- | nected with the Art. | By J. JOHNSON, Printer. |{stanza}| Vol. I. | In frame: Published by Messrs. Longman, Hurst, | Rees, Orme, Brown & Green, Pater- | noster Row, London | Under the frame: 1824. || Typographical frame with the names of distinguished printers; on the cornerstone: William Caxton, 1474. Pagination: ffl / blank, blank / engraved frontis., engraved t.p. / blank, engraved dedication / list of club members, engraved arms vignette / blank, [4] pedigree, [i] ii-xii – preface, [1] 2-610, [10] – index, bfl. Text printed in the frame. To ffl : previous owner’s inscription: Herbert Heath | from | William Blades. | Xmas 1886; Frontispiece: Portrait of John Johnson at age 46, engraved on wood by W. Hughes; t.p.: TYPOGRAPHIA, | OR THE | PRINTERS INSTRUCTOR | BY | J.JOHNSON | PRINTER. VOL. 2. | 1824 | frame with lettering, top: GUTTnbg – FAUST – ELZEVIR – ALDUS, bottom: MENTZ – STRASbg –HARLAEM | below: BIBLIOTHECA • BODLEIANA. | below the frame: G.W.BONNER SC ||; Dedication to Earl Spenser, K. G., and the members of The Roxburghe Club, dated 1824, engraved on wood by W. Hughes; Arms vignette: Roxburghe Club | Instituted | June XVII | M D CCCXII || engraved on wood by William Harvey. Provenance: Admiral Sir Herbert Leopold Heath, KCB MVO (1861 – 1954); William Blades (1824 – 1890) – English printer and bibliographies. Inscription to ffl in both vols:D. Bateman. Vol. 2. Pagination: ffl, t.p. (similar lettering, but Vol. II.) / blank, [2] advert., [i] ii-iv contents, [1, 2] 3-663 [664] [16]. Points: Vol. 1.: Frontispiece portrait of Caxton replaced by a portrait of J. Johnson from Vol. 2, engraved t.p. of Vol. 1. replaced by t.p. of Vol. 2; Vol. 2 without engraved t.p., and without frontispiece. Edition: First Edition. Size: 16mo. 12.5 x 8.5 cm Binding: Mid-nineteenth century polished calf, the covers with a border of a gilt double fillet and blind roll. Spine divided into six panels with raised bands flanked with gilt fillets, lettered on new red goatskin labels, marbled endleaves and edges. Seller's description:John Johnson (1777-1848) operated Sir Samuel Egerton Brydges's Lee Priory Press before a falling-out. Typographia was printed at his Apollo Press, in Brook Street, Holborn, with the financial support of Edward Walmsley, and came out in four sizes. "Of the few standard works on the art of printing in the English language, this is perhaps the most familiar. [The first volume contains] a table of the introduction of the art into the different countries, after which comes the "introduction and art in Great Britain", with a list of the productions of the first printers up to 1599. The second volume may be described as practical, in contradistinction to the first, which is historical. It gives a description of types, directions for composing, for press, and warehouse work, &c. It is particularly rich in foreign alphabets, a feature which has gained of it great estimation. It has long since become, and deservedly, a printer's classic" - Bigmore & Wyman, I, pp.371-2.
Note: This is the book that served as a source of plagiarism for Adams's Typographia: a brief sketch of the origin, rise, and progress of the typographic art published in Philadelphia by himself in 1837. The copy returned to the seller for the reason stated in section Points above and replaced with the unaltered copy LIB-2693.2021. -
Title (black and red): ЦИЦЕРОН | ДИАЛОГИ | О ГОСУДАРСТВЕ 〜 О ЗАКОНАХ | ИЗДАНИЕ ПОДГОТОВИЛИ | И. Н. ВЕСЕЛОВСКИЙ, В. О. ГОРЕНШТЕЙН | и С. Л. УТЧЕНКО | {device} | ИЗДАТЕЛЬСТВО • НАУКА | МОСКВА • 1966 || Frontispiece (black and red): M. TVLLI CICERONIS | DIALOGI | DE REPUBLICA 〜 DE LEGIBUS| {device} || Pagination: [1-7] 8-223 [224], insert errata slip, 2 plates. Collation: 8vo; [1]8 2-148. Binding: 22 x 17.3 cm; hardbound: original serial green cloth, blind-stamped with scrolls and gilt lettering to board and spine, lacking DJ. Веселовский, Иван Николаевич (Russian, 1892 – 1977); Горенштейн, Виктор Осипович (Russian, 20th century); Утченко, Сергей Львович (Russian, 1908 – 1976).
