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    Owari tsuba with slanting rays of light (tokei) motif / Edo period, early 17th century.

    Iron tsuba of the round form (maru gata) with a grey patina pierced with the design of slanting rays of light (Jesuit’s IHS symbol) and a pair of ginger symbols [茗荷] (myōga) at top and bottom, in positive silhouette (ji-sukashi). This design is often called “tokei” [時計] or “clock gear”. Rounded rim, large hitsu-ana, copper fittings (sekigane). Unsigned, unpapered. Owari school. Early Edo period, early 17th century.

    Size: H 71.9 x W 71.1 x Th (centre) 5.5 cm.

    For information regarding this type of tsuba see the article 'Kirishitan Ikenie Tsuba by Fred Geyer at Kokusai Tosogu Kai; The 2nd International Convention & Exhibition, October 18-23, 2006, pp. 84-91. ​

    IHS emblem of the Jesuits

    茗荷 Myoga or Japanese ginger
     
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  • Utagawa Kunisada (Toyokuni III). Iwai Kumesaburō III as Manjiya Yatsuhashi / Fan print, 1850.

    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, fl. C. 1845 – 1847), seal: San [三] (Marks 11-001 | 127c). Block carver: Matsushima Fusajirō [松嶋房次郎] (Japanese, fl. 1843 – 1850); seal [彫工房] – Hori kō Fusa (Gordon Friese № 134). Double nanushi censor seal: Kunigasa & Watanabe (1849-50). Actor: Iwai Hanshirō VIII [岩井半四郎] (Japanese, 1829 – 1882); other names: Iwai Shijaku II, Iwai Kumesaburō III [岩井粂三郎], Iwai Hisajirō II. Play: Yukari no Hana Iro mo Yoshiwara [紫花色吉原], performed at the Kawarazaki Theater (Edo) from the 5th day of the 5th lunar month of Kaei 3 (1850) (see Kabuki Playbill at MFA (Boston) № 11.27996). A famous Yoshiwara courtesan named Manjiya Yatsuhashi [万字屋 八ツ橋] was killed by a provincial commoner Sano Jirōzaemon [佐野次郎左衛門] (on the second sheet of the pair):

    SVJP-0298.2019: Ichikawa Ebizō V as Sano Jirōzaemon.

    SVJP-0297.2019: Iwai Kumesaburō III as Manjiya Yatsuhashi
    Another Kunisada's print with the same characters in the same play and same performance can be seen at MFA (Boston) № 11.40190. One more example can be seen in the two upper images at Waseda University Cultural Resources Database, № 006-2707:  
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  • Andreas Marks. Japanese woodblock prints: Artists, publishers and masterworks, 1680 – 1900 / Foreword by Stephen Addiss. — Tuttle Publishing, 2010©.

    Hardcover, 31 x 24 cm, red paper with black and white lettering to front cover and spine, pictorial endpapers, pictorial dust jacket; pp.: [1-8] 9-336, profusely illustrated in colour. Title-page (black and red): Japanese | woodblock prints | ARTISTS, PUBLISHERS AND MASTERWORKS | 1680 – 1900 | Andreas Marks {|} Foreword by Stephen Addiss | TUTTLE PUBLISHING | Tokyo • Rutland, Vermont • Singapore ||
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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. Prince Hanzoku terrorized by a nine-tailed fox, from the series ‘Japanese and Chinese parallels to Genji’, 1855.

    Title: Lyon Collection: Genji, Chapter 21, the maiden (otome - 乙女): the nine-tailed fox woman (kayō-fujin [花陽夫人]) terrorizing Prince Hanzoku (足王) and his servant from the series Japanese and Chinese parallels to Genji (wakan nazorae genji - 和漢准源氏). British Museum: Otome 乙女 (Maiden) / Waken nazorae Genji 和漢准源氏 (Japanese and Chinese Comparisons for the Chapters of the Genji). Schaap: Prince Hanzoku terrorized by a nine-tailed fox; Series: Wakan nazorae Genji (Japanese and Chinese parallels to Genji) Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Publisher: Iseyoshi [伊勢芳] (Marks 25-013 | U095); seal [イせ芳]. Block carver: Hori Shōji [彫庄治] (Lyon Collection; BM); Hori Takichi [彫多吉] (Schaap). Date-aratame seal: Ansei 2, 7th month (1855). Ref: Jack Hillier. Japanese prints and drawings from the Vever Collection (3 volumes). — New York: Sotheby Parke Bernet & Rizzoli International, 1976; vol.3, p. 868, pl. 847. Robinson (1982): p. 161, S88, № 21. Schaap (1998): p. 115, № 107. SOLD
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  • Robert Schaap. Heroes & ghosts: Japanese prints by Kuniyoshi, 1797-1861 / Introduction by Amy Reigle Newland; essays by Timothy T. Clark, Matthi Forrer, Inagaki Shin’ichi. — Leiden: Hotei Publishing, 1998.

    Title-page: Heroes & Ghosts | Japanese prints | by | Kuniyoshi | 1797-1861 | [space] | Robert Schaap | introduction by | Amy Reigle Newland | essays by | Timothy T. Clark | Matthi Forrer | Inagaki Shin'ichi | {publisher’s device} | Hotei Publishing, Leiden | Society for Japanese Arts || Description: Square hardcover volume, 29.3 x 29 cm, bound in black cloth with blind vignette to front cover and blind lettering to spine, black pictorial endpapers, pictorial dust jacket; pp.: [1-4] 5-280, incl. 279 plates and 31 figures in the text; based on exhibit in Van Gogh Museum (Amsterdam) 30 Jan – 5 Apr 1998 and Philadelphia Museum of Art (Philadelphia) 24 Apr – 29 Jun 1998.
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  • B. W. Robinson. Kuniyoshi: the warrior-prints. — Oxford: Phaidon, 1982.

    Title-page: KUNIYOSHI | The Warrior-Prints | B. W. Robinson | [space] | PHAIDON | OXFORD || Description: hardcover, 31.7 x 25 cm, bound in olive green cloth with gilt lettering to spine, white endpapers, pictorial olive dust jacket; pp.: [1-6] 7-208 incl. frontispiece, 64 plates, and 30 figs. in the text (total 104 leaves, 205 illustrations, including 32 in colour); catalogue with the list of illustrations, and index of characters portrayed. Inset: A.L.s. on Phaidon letterhead by Sue Moulton; ISBN 0714822272. Edition: 1st edition,1st printing (a review copy). Contributor: Robinson, Basil William (British, 1912 – 2005).
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  • B. W. Robinson; Victoria and Albert Museum. Kuniyoshi. — London: Her Majesty’s Stationery Office, 1961.

    Title-page: VICTORIA AND ALBERT MUSEUM | KUNIYOSHI | BY B. W. ROBINSON | SPACE | LONDON: HER MAJESTY'S STATIONERY OFFICE | 1961 || Description: hardcover, 25.3 x 19 cm, bound in red cloth with embossed vignette to front cover and gilt lettering over the black label to spine, pictorial endpapers, pictorial olive/cyan dust jacket; pp. [i-vi] vii-xv [xvi blank] 1-71 [72 blank] plus frontispiece in colour and 50 leaves of plates (98 pages of b/w ils.) between pp. 64 and 65. Contributor: Robinson, Basil William (British, 1912 – 2005).
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji) 1842

    Utagawa Sadahide. Yukari no Edo-zakura / Fan print, 1830.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Signed: Gountei Sadahide ga [五雲亭貞秀画] Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869) Date-aratame seal: Bunsei 13 / Tenpō 1 (1830). Ref: Ritsumeikan University # Z0172-587. Title: Yukari no Edo-zakura [ゆかりの江戸桜], often translated into English as 'The Flower of Edo', is a one-act kabuki play Sukeroku, written by Tsuuchi Han'emon (fl. 1701 – 1743) under the supervision of Tsuuchi Jihei II (1673 – 1760 ) at the beginning of the 18th century. From the beginning of the 19th century, the play was performed in the style of katōbushi. 助六所縁江戸桜（すけろくゆかりのえどざくら。「助六」– one of the main melodies in katōbushi (河東節) type of jōruri [浄瑠璃]. For a detailed explanation in Japanese, see also HERE). Plot: In search of the stolen  Minamoto clan's precious sword called Tomokirimaru, Soga Gorō (historical Soga Tokimune [曾我時致], 1174 – 1193) came to a Yoshiwara brothel under the disguise of a debaucher named Hanagawado Sukeroku. His elder brother, Soga Jūrō (historical Soga Sukenari [曾我祐成], 1172 – 1193) ), has assumed the guise of a wine vendor Shinbei. The character who had the Tomokirimaru sword was Ikyū (historical Iga no Heinaizaemon, a Tiara clan's ally), see SVJP-0164.2014. A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
    Yukari no Edo-zakura
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji)

    SVJP-0270-2.2019:

    The tatami night robe of Iwao    		 Tangled Hair and the Evening Braided Hat
    They all have a background of hail patterns (Arare-ko-mon) [霰小紋], similar to Kunisada’s Iwai Kumesaburō II as An no Heibei [SVJP-0304.2019], see below. Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji) 1842

    Utagawa Sadahide. Tangled Hair and the Evening Braided Hat / Fan print, 1830.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Signed: Gountei Sadahide ga [五雲亭貞秀画] Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869) Date-aratame seal: Bunsei 13 / Tenpō 1 (1830). Ref: Ritsumeikan University # Z0172-587. Title: Tangled Hair and the Evening Braided Hat [乱髪夜編笠] (Midaregami Yoru no Amigasa). The open book starts with the chapter title that reads Amigasa. This play was performed together with Kisohajime Hatsugai Soga [着衣始]初買曽我]. See the playbill for the performance at Moritaza at MFA (Boston) № 11.27208. 乱髪夜編笠（みだれがみよるのあみがさ。「夜の編笠」「白さぎ」とも）– one of the main melodies in katōbushi (河東節) type of jōruri [浄瑠璃]. For a detailed explanation in Japanese, see also HERE). A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
    Yukari no Edo-zakura
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji)

    SVJP-0270-2.2019:

    The tatami night robe of Iwao    		 Tangled Hair and the Evening Braided Hat
    They all have a background of hail patterns (Arare-ko-mon) [霰小紋], similar to Kunisada’s Iwai Kumesaburō II as An no Heibei [SVJP-0304.2019], see below. Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829  
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji) 1842

    Utagawa Sadahide. The Tatami Night Robe of Iwao / Fan print, 1830.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Signed: Gountei Sadahide ga [五雲亭貞秀画] Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869) Date-aratame seal: Bunsei 13 / Tenpō 1 (1830). Ref: Ritsumeikan University # Z0172-587. Title: The tatami night robe of Iwao [巌の畳夜着] (Kyusue Iwao no tatami yogi); 灸すゑ巌の畳夜着（きゅうすえいわおのたたみよぎ。「灸すえ」– one of the main melodies in katōbushi (河東節) type of jōruri [浄瑠璃]. For a detailed explanation in Japanese, see also HERE). The night robe of Iwao is decorated with characters resembling Arabic numerals, and Latin and Cyrillic letters. A similar kimono can be seen on Kunisada's print Hotoke Gozen, Mirror of Virtuous and Wise Women (Kenjo Kagami) at RISD museum accession number 13.1383, portraying Hotoke Gozen (佛御前), a character of The Tale of the Heike [平家物語] (Heike Monogatari); published by Yamamotoya Heikichi (山本屋平吉) (Japanese, fl. c. 1812 – 1886) in the 1830s (see below).

    RISDM 13-1383

    A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
    Yukari no Edo-zakura
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji)

    SVJP-0270-2.2019:

    The tatami night robe of Iwao    		 Tangled Hair and the Evening Braided Hat
    They all have a background of hail patterns (Arare-ko-mon) [霰小紋], similar to Kunisada’s Iwai Kumesaburō II as An no Heibei [SVJP-0304.2019], see below. Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829
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  • Utagawa Kunimaru .

    Utagawa Kunimaru. Chūshingura (The Treasury of Loyal Retainers), Act XI: Night Battle / Fan print, 1827.

    Artist: Utagawa Kunimaru [歌川国丸] (Japanese, 1794 – 1829). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Date-kiwame seal: Bunsei 10 (1827). Signed: Ichiensai Kunimaru ga [一円斎国丸画]. Play: Chūshingura [忠臣蔵] (The Treasury of Loyal Retainers), 11th act, Night Battle [十一段目夜討之図]. Act XI: The Attack on Kō no Moronao Mansion. Kō no Moronao [高 師直] (Japanese, d. 1351). Ref: Ako City Museum of History Inscription on the soba peddler box: Nihachi soba udon [二八そば うどん] –  twice eight soba and udon (16 mon per serving).
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  • Utagawa Yoshitsuya .

    Utagawa Yoshitsuya. Waves off Shinagawa / Fan print, 1849.

    Artist: Utagawa Yoshitsuya [歌川 芳艶] (Japanese, 1822 – 1866). Publisher: Kojimaya Jūbei [小島屋重兵衛] (Japanese, c. 1797 – 1869). Date seal and double nanushi censor seals: Kunigasa & Yoshimura, Kōka 5 (1849). Signed: Ichieisai Yoshitsuya ga [英斎芳艶画] in a red double gourd cartouche. Two men are fishing with a net off the coast of Shinagawa, in the Edo Bay.
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862

    Utagawa Sadahide (Gountei Sadahide). The God of Wind and The God of Thunder / Fan print, 1831.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (Japanese, 1807 – c. 1878-9). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date-kiwame seal: 1831 (Tenpō 2). Size: Uchiwa-e, 298 x 232 mm. Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder meant to be pasted on two sides of a fan.
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862 Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862
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  • Utagawa Kuniyoshi. Puppets by Yoshida Senshi: Shinanoya Ohan and Obiya Choemon / Fan print, 1827.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date-aratame seal: 1827 (Bunsei 10). Inscription: Ohan [おはん], Chōemon [長右衛門] | Dainingyō [大人形] | Yoshida Senshi [吉田千四)] | unclear (work in progress). Sam. L. Leiter describes the play in his Kabuki Encyclopedia (1979) p. 183, and Japanese traditional theatre (2014), p. 252 as "Love Suicide of Ohan and Choemon at the Katsura River" (Katsuragawa Renri no Shigarami) [桂川連理柵], a two-act play by Suga Sensuke [菅専助] (ca. 1728 – 1791) written in 1776 for the puppet theatre jūruri and adopted for Osaka kabuki in 1777. Yoshida Senshi, a.k.a. Yoshida Bunzaburo III was a Japanese puppeteer of a Yoshida lineage. The line was established by Yoshida Bunzaburō I [吉田文三郎] (Japanese, fl. 1717 – 1760), who was one of the greatest in the history of Bunraku [人形浄瑠璃] (ningyō jōruri) and who around 1734 introduced the three-man puppet manipulation system. A portrait of Yoshida Senshi, who died in 1829, can be found in the Kunisada's triptych at Jordan Schnitzer Museum of Art, ID Number 2016:37.2.). The design on our fan print looks very much like the one of Toyokuni I at MFA (Houston): OBJECT NUMBER 2006.378. "Seki Sanjuro as Obiya Choemon and Ichikawa Denzo as Ohan of the Shinonoya from the Kabuki Drama Katsuragawa renri no shigarami (Love Suicide of Ohan and Choemon at the Katsura River)", according to MFA-H published by someone Tsuruya in c. 1810 (though the publisher's seal is Suzuki Ihei [鈴木伊兵衛] (seal name Suzui [鈴伊]), Marks 01-028 | 502; the censor's seal is gyōji, date 1811-14).  Interestingly enough, the description provided by Kuniyoshi Project is this "Actors: Onoe Kikugorô III as Shinanoya Ohan (おはん, female) and Ichikawa Ebizô V as Obiya Choemon (長右衛門, male). Play: Go chumon shusu no Obiya (御注文繻子帯屋). Date: 3rd month of 1840. Theater: Kawarasaki. Publisher: Iba-ya Sensaburô". The play Go chumon shusu no Obiya was indeed staged at Kawarazaki theatre in 1840 (Tenpō 11), 3rd month; Ichikawa Ebizō V was indeed playing Obiya Choemon but Onoe Kikugorō III had the role of  Kataoka Kōzaemon, not of Ohan, as can be seen on Kunisada's diptych at MFA (Boston): ACCESSION NUMBER 11.40671a-b. 

    Actors Ichikawa Ebizô V as Obiya Chôemon (R) and Onoe Kikugorô III as Kataoka Kôzaemon (L)

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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. Mother and child playing hand shadows game / Fan print, c. 1845.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Published in c. 1845 (no seal). Possibly, from the "Untitled series of beauties reflected in mirrors", see Kunisada Project. However, this print does not have the seal of the censor Tanaka [田中].
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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. A young woman with a framed picture of Soga no Gorō, from the series A collection of pictures in modern style / Fan print, 1849-51.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Izuzen (fl. c. 1800s – 1840s) (Marks 06-029|U103b). Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia crest (kiri mon). Double nanushi censor seals: Fuku & Muramatsu, 1849-51 (Kaei 2 – Kaei 4). Young woman in front of the western-style framed portrait of Soga Tokimune, who is depicted after having his kusazuri ripped off by Asahina Saburō. The series of fan prints A Collection of Pictures in Modern Style [今様額面合] (Imayô gakumen awase) can be found at Kuniyoshi Project. Soga Tokimune, a.k.a. Soga no Gorō [曾我時致] (Japanese, 1174 – 1193), a historical figure and a character of an epic tale Soga Monogatari [曽我物語] (A Tale of Soga Brothers). Asahina Saburō [朝比奈 三朗], a.k.a. Asahina Yoshihide [朝比奈 義秀] is also mentioned in the Soga Monogatari. Kusazuri [草摺] (くさずり) – tassets on a suit of a samurai's armour. Another Kuniyoshi's print with the same characters: Goro Tokimune and Asahina Saburo; Series: The Tale of Soga Brothers; Publisher: Ibaya Senzaburō; Date: 1843-1845; Size: Vertical Ōban: 359 x 245 mm.
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  • Utagawa Kuniyoshi . A Summer Evening. A beauty in purple kimono decorated with cranes and waves catching a firefly among morning glories and anise 1853

    Utagawa Kuniyoshi. A Summer Evening / Fan print, 1853.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Enshuya Matabei [遠州屋又兵衛] (Japanese, fl. c. 178 – 1881) – no seal, ref: Kunisada Project. Title: A Summer Evening [夏乃夕暮] (Natsu no Yūgure). A young woman in purple kimono decorated with cranes and waves catching a firefly among yellow and purple flowers. Signed: Ichiyosai Kuniyoshi ga [一勇斎 国芳 画] in a red cartouche and sealed with paulownia (kiri mon). Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month). No publisher's seal. Size: Uchiwa-e (untrimmed fan print) 228 x 296 mm. The yellow flower is probably Patrinia scabiosifolia (ominaeshi) [女郎花]. The purple flower seems to be Platycodon grandiflorus or Balloon Flower (kikyō) [桔梗]. Besides, there are visible panicles of  Miscanthus sinensis, or Japanese pampas grass (susuki) [薄]. These three are part of the Seven Grasses of Autumn (aki no nanakusa) [秋の七草].  
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  • Utagawa Kunisada (Toyokuni III). Pine, bamboo, and plum: Three delights / Fan print, 1855.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ichiyōsai Toyokuni hitsu [一陽斎豊国筆]. Inscriptions:  [松竹梅] Shochikubai = pine (matsu, 松), bamboo (take, 竹), and plum (ume, 梅) – an auspicious grouping known as "The Three Friends of Winter"; [三福追] (Sanpuku tsui) – the three delights, or pleasures. Date seal and aratame censor seal: Ansei 2, 1st month (1855). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Kabuki actor Nakamura Shikan IV [中村芝翫] (Nakamura Fukusuke I [中村福助], Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I, Japanese, 1831 –  1899) arranging a branch of blossoming plum to the memorial portrait of his predecessor  Nakamura Utaemon IV [中村歌右衛門] (Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō, Japanese, 1796 – 1852); the latter is dressed in a black robe adorned with a mokkō-crest (mon) of white plum blossom, the hanging scroll border decorated with arabesque and plum blossoms. Actors identified by Horst Graebner. Two fan prints from this series in Varshavsky Collection:

    SVJP-0336.2021
     
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  • Utagawa Kunisada (Toyokuni III). Pine, bamboo, and plum: Three delights / Fan print, 1855.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Ichiyōsai Toyokuni hitsu [一陽斎豊国筆]. Inscriptions:  [松竹梅] Shochikubai = pine (matsu, 松), bamboo (take, 竹), and plum (ume, 梅) – an auspicious grouping known as “The Three Friends of Winter“; [三福追] (Sanpuku tsui) – the three delights, or pleasures. Date seal and aratame censor seal: Ansei 2, 1st month (1855). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Kabuki actor Onoe Kikugorō V [五代目尾上菊五郎] (Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII, Ichimura Kurōemon, Japanese, 1844 – 1903) giving candies to the memorial portrait of his predecessor, Ichimura Takenojō V [市村竹之丞] (Ichimura Uzaemon XII, Ichimura Kamenosuke, Ichimura Toyomatsu, Japanese, 1812 – 1851); the latter is dressed in a green robe adorned with a crest (mon) of a kōrin-style crane in a tortoiseshell (octagon), the hanging scroll border decorated with bamboo under snow; the collar of Onoe's kimono decorated with plum blossoms, another plum blossom arrangement decorates the screen behind him. Actors identified by Horst Graebner. Two fan prints from this series in Varshavsky Collection:

    SVJP-0335.2021
     
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Geisha with a clock / Preparatory drawing drawing for a fan print

    Utagawa Kunisada II (Toyokuni IV). Geisha with a watch / Preparatory drawing for a fan print, c. 1870.

    Artist: Horst Graebner positively attributes the drawing to Utagawa Kunisada II [歌川国貞] Japanese, 1823 – 1880) a.k.a. Toyokuni IV, though Israel Goldman attributes it to Utagawa Kunisada [歌川 国貞] (Japanese, 1786 – 1865) a.k.a. Utagawa Toyokuni III. Title: Geisha with a watch / Preparatory drawing for a fan print. Media/Technique: Ink and colour on paper. Signed: Toyokuni hitsu [豊国筆].
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Cool Breeze on Tenpōzan Hill in Naniwa / Fan print, 1847-50.

    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). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal Hori Take [彫竹]. Double nanushi censor seals: Mera & Murata (1847-50). Title: Cool Breeze on Tenpōzan Hill in Naniwa [浪花天保山の涼] (Naniwa Tenpōzan no ryō). An uncut fan print (uchiwa-e), depicting a gentleman (most probably kabuki actor Nakamura Utaemon IV) holding a pipe with the view of Tenpōzan Hill [天保山] in Naniwa (Osaka) in the background. A distinctive structure on the left is the Sumiyoshi Lantern [住吉高灯篭] (Sumiyoshi takadōrō), which was destroyed by a typhoon in 1950. The character 翫 – moteasobu – on the gentleman’s robe means "take pleasure, play an instrument". Nakamura Utaemon IV [中村歌右衛門] (Japanese, 1796 – 1852); other names: Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō. The character is visually similar to a gentleman drinking tea on a veranda under the shining moon from the series ‘Moon, Sun, Stars’ [月日星] (Getsu hi hoshi), see SVJP-0211-1.2016: The Moon. Utagawa Kunisada. Fan print triptych. Jitsu getsu sei no uchi. Moon. Circa 1850. As noted by Horst Graebner, the gentleman also resembles the character on another Kunisada's actor print, published in 1852 (Waseda University Cultural Resources Database № 114-0232):    
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Edo Murasaki – Fake Murasaki’s Rustic Genji / Fan print, 1853.

    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 Ichikawa Danjūrō VIII. Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizō VI, Ichikawa Shinnosuke II. One of the series of Kunisada’s fan prints in this collection:
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Edo Murasaki – Fake Murasaki’s Rustic Genji / Fan print, 1853.

    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). Block carver: Koizumi Minokichi [小泉巳の吉] (Japanese, 1833 – 1906); seal: Hori Mino [彫已の] (Gordon Friese № 38). 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 Segawa Kikunojō V. Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802 – 1832); other names: Segawa Tamon I. One of the series of Kunisada's fan prints in this collection:
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  • Yoshirō brass inlay tantō tsuba by Koike Naomasa; Momoyama period (1574 – 1603).

    Small iron tsuba for a dagger (tantō), of quatrefoil form (mokkō-gata), with raised rim (mimi), decorated with flat brass inlay (hira-zōgan) to form an abstract design alluding to the mushroom of immortality (reishi). Opening (hitsu-ana) to the left of nakaga-ana probably cut later and fitted with shakudo sekigane. Maker's signature on seppa-dai: Koike Naomasa (小池 直正).

    Momoyama period: End of the 16th - beginning of the 17th century. Dimensions: Height 53.7 mm; Width: 45.5 mm; Thickness at centre: 3.5 mm; at rim: 4.9 mm. Other examples of signed Koike Naomasa work in this collection: TSU-0346. Reference: The closest example in literature is in Compton Collection (II): №11 with the description: “A Koike School tsuba, Edo period (circa 1625), signed Koike Yoshiro. Sheet-brass flush inlay of cloud forms and wire inlay creating the same shape. Koike Yoshiro Naomasa worked from the Keicho to the Genna periods (1596-1623). He arrived in Kyoto from Kaga.” [Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton (Part II) / Sebastian Izzard, Yoshinori Munemura. — Christie's, New York, October 22, 1992]. See: Yoshirō tsuba.    
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  • Эстетика раннего французского романтизма (История эстетики в памятниках и документах). — М.: Искусство, 1982.

    Description: Hardcover, 20.8 x 13.3 cm, green buckram with gilt lettering to spine, gilt serial design and lettering to front cover, pp.: [1-6] 7-479 [480]. Incl. Ф.-Р. де Шатобриан. «Гений христианства», пер. О. Э. Гринберг. Title-page : | — | ЭСТЕТИКА РАННЕГО ФРАНЦУЗСКОГО РОМАНТИЗМА |— | {publisher’s device} | МОСКВА | ИСКУССТВО | 1982 | 3 || François-René de Chateaubriand (French, 1768 – 1848) – author Ольга Эммануиловна Гринберг (Russian, 1950 – 2008) – translator Вера Аркадьевна Мильчина [Vera Miltchina] (Russian, b. 1953) – foreword, translator
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  • Литературные манифесты западноевропейских романтиков / Собрание текстов, вступ. ст. и общ. ред. А. С. Дмитриева (Университетская библиотека). — М.: Изд-во МГУ, 1980.

    Description: Hardcover, 22.2 x 17.2 cm, in green buckram with gilt lettering to front cover and spine, pp.: [1-4] 5-638 [2], 640 pages total. Incl.: Ф.-Р. де Шатобриан. Из «гения христианства». Title-page: ЛИТЕРАТУРНЫЕ | МАНИФЕСТЫ | ЗАПАДНОЕВРОПЕЙСКИХ | РОМАНТИКОВ | Собрание текстов, | вступительная статья и общая редакция | проф. А. С. Дмитриева | Издательство Московского университета | 1980 || Contributors: Дмитриев, Александр Сергеевич (Russian, 1919 – 2001) François-René de Chateaubriand (French, 1768 – 1848)
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  • Léopold Carteret. Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927.

    Léopold Carteret. Le trésor du bibliophile: Epoque romantique 1801 – 1875 / Livres illustrés du XIXe siècle. — Paris: L. Carteret, 1927.

    Description: One volume, collated 4to, 26.2 x 18.5 x 8 cm, ¾ calf over marbled boards, gilt decorated flat spine with gilt lettering, marbled endpapers, publisher’s wrappers preserved. Title-page (red and black): LE TRÉSOR | DU | BIBLIOPHILE | ÉPOQUE ROMANTIQUE | 1801–1875 | PAR | L. CARTERET | Libraire de plusieurs Sociétés de Bibliophiles | LIVRES ILLUSTRÉS DU XIXe SIÈCLE | PARIS | L. CARTERET, ÉDITEUR | ANCIENNE LIBRAIRIE CONQUET | 5, RUE DROUOT, 5 | Novembre 1927 || Publisher's wrapper similar, in a frame Collation: front wrapper, π4 (2 blanks, h.t./limit., t.p./copyright], [1] – 894, χ2 (colophon, 1 blank), back wrapper, orig. spine, ils. within collation; total 362 leaves within wrappers; 2 leaves of modern inset bound-in between pp. 106 and 107. Pagination: [8][1-3] 4-712 [4], total 724 pages plus 4 pp inset, ils. Content: pp. 1-25 – propos; 29-600 – bibliographie; 601-603 – table ills; 605-639 – table des ouvrages cités; 641-712 – table des artistes. Printed by Imp. Lahure on November 30, 1927. Contributors: Léopold Carteret (French, 1873 – 1948) Imprimerie Générale de A. Lahure (Paris) Alexis Lahure (French, 1849 – 1928)
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  • Les fleurs animées par J.-J. Grandville / introductions par Alphonse Karr, texte par Taxile Delord. — Paris: Gabriel de Gonet, [1847].

    Description: Two parts in one volume, collated 4to, 26.3 x 18 cm, bound in quarter green pebbled morocco over green percaline panelled boards, spine with raised bands, gilt in compartments, lettered in gilt, signed in the bottom “L. Curmer”; marbled endpapers, all edges gilt. Part 1 is illustrated with a hand-coloured wood-engraved title-page by Porret and Blanadet and 28 hand-coloured steel engravings by Charles Geoffroy after J.-J. Grandville; part 2 is illustrated with a hand-coloured wood-engraved title-page by Quichon and 22 steel engravings by Charles Geoffroy after J.-J. Grandville, and two uncoloured botanical plates, unsigned. Title-page: LES | FLEURS ANIMÉES | PAR | J.-J. GRANDVILLE | INTRODUCTIONS | Par ALPH. KARR | TEXTE | Par TAXILE DELORD | — | PREMIÈRE (DEUXIÈME) PARTIE | — | PARIS | GABRIEL DE GONET, ÉDITEUR | 6, RUE DES BEAUX-ARTS, 6 || Collation: part 1: blank, [1] h.t./imprint (PARIS WALDER), hand-coloured engraved t.p., [1] t.p./blank, 1-324, [1] contents/blank, 28 hand-coloured plates; part 2: [1] h.t./imprint (PARIS WALDER), hand-coloured engraved t.p., [1] t.p./blank, [2] intro., [1]-294, 302, blank, 22 hand-coloured plates and 2 uncoloured plates. Pagination: part 1: [1-5] 6-260 [2] (total 262 pages), ils; part 2: [4] [i] ii-iv [1] 2-102, [2] [i] ii-iv, [105] 106-234 [2] (total 248 pages), ils. Coloured steel-engraved plates: Part 1: Bleuet et Coquelicot. Lis. Pensée. Tabac. Tulipe. Rose. Narcisse. Violette. Nenuphar. Laurier. Myrte. Marguerite. Camelia. Immortelle. Chèvre-feuille. Belle-de-nuit. Oeillet. Ciguë. Soleil. Fleur de grenadier. Lin. Eglantine. Pavot. Chardon. Fleur d'oranger. Capucine. Guimauve. Primevère – Perce-neige. Part 2: Pois de senteur. Cactus. Dahlia. Sensitive. Fleur de pêcher. Aubépine. Vigne. Myosotis. Jasmin. Scabieuse & Souci. Traite des fleurs. Flèche-d'eau. Hortensia, couronne impériale. Verveine. Giroflée. Thé et Café. Lilas. Tubéreuse Jonquille. Bal. Retour des fleurs. Erratum. Pervenche desséchée. Plates signed "Grandville del. – Ch. Geoffroy sc. – G. de Gonet, editeur" but some signed "Imp. Delamain et Sarazin rue Git le Cœur 8 Paris." Plates accompanied by tissue guards. Gordon N. Ray: "Most of the plates show an elegant lady in a garden, her dress covered with an extraordinary pattern of flowers. She is sometimes accompanied by respectful creatures, animals and insects, even fish and reptiles". Edition: 2nd edition of 1847, each part has separate pagination; imprint: "Paris. — Typographie Walder, rue Bonaparte, 44". Second "tirage", the volumes being paged separately; the first "tirage", issued also in 1847, is paged continuously. Point of issue: Table des Matières has "Imprimerte Walder." Originally appeared in 83 separate parts in pictorial yellow wrappers. Contributors: J.-J. Grandville [Gèrard, Isidore-Adolphe] (French, 1803 – 1847) – artist. Taxile Delord (French, 1815 – 1877) – author. Comte Foelix [Louis-François Raban] (French, 1795 – 1870) – author. Jean-Baptiste Alphonse Karr (French, 1808 – 1890) – author. Charles Michel Geoffroy (French, 1819 – 1882) – engraver (on steel). Gabriel de Gonet (French, fl. 1847 – 1862) – publisher. Typographie Walder (Paris) – printer. Plon Freres (Paris) – printer. Delamain et Sarrazin (Paris) – printer. Henri Désiré Porret (French, 1800 – 1867) – engraver (on wood). Jules Blanadet (French, 1824 – ?) – engraver (on wood). Quichon (French, fl. c. 1850s) – engraver (on wood). Catalogue raisonné: L. Carteret (Le trésor): p. 286; Ray (French): 198, pp. 278-9; Vicaire (Manuel): D III, p. 133-4; Brivois (Guide): pp. 147-150. In collections: MET 1970.565.423.1–.2; Vanderbilt University; V&A L.755-1943. Provenance: Léon Curmer (French, ).
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  • Konrad Lorenz. On aggression / translated by Marjorie Latzke, foreword by Sir Julian Huxley. — London: Methuen, 1966.

    Description: One volume, 8vo, 22 x 14.5 cm, in brown paper boards with orange and black lettering to spine, pictorial dust jacket, unclipped “PRICE | 30s net | IN U.K. ONLY”, collated [A]-S8, pp.: [i-vi] vii-xiii [xiv blank], 1-273 [274 blank], 144 leaves total. Edition: 1st English edition. Original title: Das Sogenannte Böse: zur Naturgeschichte der Aggression. — Wien : Dr. G. Borotha-Schoeler, 1963. Contributors: Konrad Zacharias Lorenz (Austrian, 1903 – 1989) – author. Sir Julian Sorell Huxley (British, 1887 – 1975) – author of the foreword. Marjorie Latzke [Kerr Wilson] (American, 20th century) – translator from German. Methuen & Co Ltd. (London) – publisher. Cox & Wyman Ltd. (Fakenham, Norfolk) – printer.
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  • Ōnin ten-zōgan tsuba with design of chrysanthemum, late Muromachi period (16 AD).

    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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  • Affaire Pierre Bonaparte ou Le Meurtre d'Auteuil. — Paris: A. Chevalier, 1870.

    Affaire Pierre Bonaparte ou le meurtre d’Auteuil. — Paris: A. Chevalier, 1870.

    Description: 12mo, 17 x 11 cm, quarter brown morocco over marbled boards, marbled end-papers, raised bands and gilt lettering to spine, embossed stamp to t.p. “COLPORTAGE CHEMIN DE FER”. Title-page: AFFAIRE | PIERRE BONAPARTE | OU | LE MEURTRE D'AUTEUIL | AVEC PORTRAITS | DU PRINCE PIERRE BONAPARTE & DE VICTOR NOIR | Et nombreuses Gravures, telles que : | SCÈNE DU MEURTRE DANS LE SALON D'AUTEUIL. | LA CHAMBRE DE VICTOR NOIR, | VICTOR NOIR SUR SON LIT DE MORT, | LE PRINCE PIERRE A LA CONCIERGERIE, ETC. | — | Prix : 1 fr. 10 c., franco. | — | PARIS | A. CHEVALIER, EDITEUR | 61, RUE DE RENNES, 61 | 1870. Collation: 18mo; odd [1]-918; 5 x 18 = 90 leaves total. Pagination: [2] [3] 4-177 [178]; total 180 pages. Contributors: Armand Le Chevalier (French, 1802 – 1873) – publisher. Prince Pierre-Napoléon Bonaparte (French, 1815 – 1881) – character. Victor Noir [b. Yvan Salmon] (French-Jewish, 1848 – 1870) – character.  
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  • Heianjo brass inlay tsuba with swastika and other symbols. Momoyama period (1574 – 1603).

    Iron tsuba of round form pierced (sukashi) in a chessboard fashion and decorated with linear (sen-zōgan) and cast (suemon-zōgan) brass inlay, including symbols of the swastika, flower-lozenge, maple leaf, pine needle, etc. on both sides; rim and openings outlined with brass inlay. Nakagō-ana plugged with copper fittings (sekigane).

    Momoyama period. End of the 16th - beginning of the 17th century. Dimensions: Diameter: 75.5; Thickness: 4.5 mm.  
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  • Ōnin suemon-zōgan tsuba with autumnal connotation (Tale of Genji, Chapter 20: Asagao). Late Muromachi period (1514-1573).

    Iron tsuba of round form, slightly convex, decorated with persimmon (kaki), simplified Genji-kō (incense game symbol) and halves of plum blossoms (ume) in brass inlay on both sides, and with part of bellflower (kikyo) in openwork. Outer rim, seppa-dai, bellflower openwork, and kozuka-ana outlined with brass inlay; traces of lacquer to surface. The symbolic meaning alludes to Chapter 20: Asagao (朝顔, the bellflower or "morning face") of Tale of Genji by Murasaki Shikibu (11th century AD). The events take place in the 9th lunar month (Nagatsuki) and involve the following poetry by Prince Genji: saku hana ni / utsuru chō na wa / tsutsumedomo / orade sugiuki / kesa no asagao [I would not have it said / that my heart has turned toward / a flower in bloom — / yet how hard it is to pass / without plucking a “morning face”!]. Measurements: H: 76.6 mm; W: 76.3 mm; Th.: 3.6 mm (seppa-dai), 3.0 mm (rim) Time: Late Muromachi (1514 – 1573).
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  • И. Л. Галинская. Загадки известных книг (АН СССР: Из истории мировой культуры). — М.: Наука, 1986.

    Description: Publisher’s wrappers, 20 x 12.8 cm, serial design; lettering to cover: (white on sanguine) И. Л. ГАЛИНСКАЯ | ЗАГАДКИ | ИЗВЕСТНЫХ | КНИГ | (white on aubergine, black frame) | ТАЙНОПИСЬ СЭЛИНДЖЕРА | Символика числа «девять» | «В ялике» | «И эти губы и глаза зеленые» | «Голубой период де Домье-Смита» | Повести о Глассах | ШИФРЫ МИХАИЛА БУЛГАКОВА | Тема Пилата | Не свет, а покой… | Смерть Иуды из Кариафа | «Рукописи не горят» | «Жонглер с копытом» | (white on black) ИЗДАТЕЛЬСТВО • НАУКА • || Title-page: АКАДЕМИЯ НАУК СССР | Из истории мировой культуры | И. Л. ГАЛИНСКАЯ | ЗАГАДКИ | ИЗВЕСТНЫХ | КНИГ | Ответственный редактор | доктор философских наук | И. К. ПАНТИН | {publisher’s device} | Москва | «НАУКА» | 1986 || Pagination: [2] 3-124 [125] [126 contents] [2 colophon/advert.] ; total 128 pages. Collation: 16mo; [1]-416; total 64 leaves. Print run: 142,000 copies. Contributors: Ирина Львовна Галинская [Шмарук] (Ukrainian, 1928 – 2017) Игорь Константинович Пантин (Russian, b. 1930) Михаил Афанасьевич Булгаков [Mikhail Bulgakov] (Russian, 1891 – 1940) Jerome David Salinger (American, 1919 – 2010)
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  • И. Бабель Избранное. — М.: Художественная литература, 1966.

    Description: one volume, 20.7 x 13.3 cm, bound in cream cloth with red and black lettering to front cover and spine, author’s photographic portrait frontispiece. Title-page (black and red): ИЗБРАННОЕ (vertical, red) | И. БАБЕЛЬ | {publisher’s device “ИХЛ”} | Издательство | «ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА» | Москва | 1966 || Contents: Конармия; Одесские рассказы; Рассказы; Воспоминания; Пьесы; Статьи, выступления; Письма; Комментарии. Imprint: Вступительная статья | Л. ПОЛЯК | Комментарии | Е. КРАСНОЩЕКОВОЙ | Оформление художника | Ю. БОЯРСКОГО | 7–3–2 / 57–66 || Pagination :[2] 3-493 [494] [2]; total 496 pages, ils. Collation: 8vo; [1]-318; total 248 leaves plus author’s photographic portrait frontispiece. Contributors: Исаак Эммануилович Бабель [Isaac Babel] (Russian-Jewish, 1894 – 1940) – author. Лидия Моисеевна Поляк (Russian-Jewish, 1899 – 1992) – author, foreword. Елена Александровна Краснощекова (Russian-Jewish, b. 1934) (see Александр Михайлович Краснощёков) – author, commentary. Юлий Александрович Боярский (Russian, 1924 – 2009) – artist.
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  • И. Бабель. Рассказы. — М.: Художественная литература [Гослитиздат], 1934.

    Description: One volume, 20.2 x 14 cm, bound in tan cloth, lettered in red and embossing “И. БАБЕЛЬ | РАССКАЗЫ | {vignette} | ГОСЛИТИЗДАТ | 1934”, red lettering to spine. Title-page: И. БАБЕЛЬ | РАССКАЗЫ | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО «ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА» | 1934 || Contents: Конармия; Одесские рассказы; Рассказы. Pagination: [1-4] 5-282 [283] [284 blank] [2 contents] [2]; total 288 pages, +3 ils. Collation: [1]-188; total 144 leaves, plus 3 wood-engraved plates by Boris Gutentog extraneous to collation. Print run: 15.000 copies. Edition: 1st edition thus. Contributors: Исаак Эммануилович Бабель [Isaac Babel] (Russian-Jewish, 1894 – 1940) – author. Борис Наумович Гутентог [Boris Gutentog] (Russian-Jewish, 1902 – 1980) – artist.  
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  • Вера Мильчина. «Французы полезные и вредные»: Надзор за иностранцами в России при Николае I (Что такое Россия). — М.: Новое литературное обозрение, 2017.

    Description: One volume, 20.6 x 13.7 cm, pictorial glossy paper boards; pp.: [1-6] 7-480 [481] [7 advert.]; total 488 pages, ils. ISBN: 978-5-4448-0627-2. Contributor: Вера Аркадьевна Мильчина [Vera Miltchina] (Russian, b. 1953)
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  • Гюи де Мопассан. Награжден орденом / Собр. соч. под ред. И. Бабеля, т. 2. — М.-Л.: Земля и фабрика, 1926.

    Description: Volume 2 of 3, 16 x 12.5 cm, publisher’s grey wrappers, lettered in black and white to front cover, black to spine. Half-title: publisher’s device «ЗиФ» to recto, to verso: ГЮИ ДЕ-МОПАССАН | СОБРАНИЕ СОЧИНЕНИЙ | ТОМ II | — | «ЗЕМЛЯ и ФАБРИКА» | МОСКВА – ЛЕНИНГРАД || Title-page: ГЮИ ДЕ-МОПАССАН | НАГРАЖДЕН | ОРДЕНОМ | ПЕРЕВОД С ФРАНЦУЗСКОГО | ПОД РЕДАКЦИЕЙ | И. БАБЕЛЯ | ЧЕТВЕРТАЯ ТЫСЯЧА | — | «ЗЕМЛЯ и ФАБРИКА» | МОСКВА – ЛЕНИНГРАД || Imprint: Обложка худ. Н. Альтман | Отпечатано в типогр. рабоч. | Изд-ва «Прибой» им. Евг. | Соколовой, Пр. Красн. | Командиров, 29, в ко- | личестве 4.000 экз. | Главлит № 61.389. | 10 и. лист. | Ленинград | 1926 || Collation: 8vo; 1-108 111, total 81 leaves. Pagination: [1-5] 6-161 [162 contents], total 162 pages. Edition: 1st thus. Print run: 4,000 copies. Contents: Награжден орденом (пер. Александры Чеботаревской); Порт (пер. И. Смидович); Верхом (пер. Валентины Дынник); Ночь под Рождество  (пер. Александры Чеботаревской); Пьерро (пер. Валентины Дынник); Болезнь Андрэ (пер. И. Бабеля); Ожерелье (пер. Александра Элиасберга); Мститель  (пер. Александры Чеботаревской); Шкаф (пер. Александры Чеботаревской); Заместитель  (пер. Александры Чеботаревской); Дождевой зантик; Покинутый (пер. А. Мирэ). Contributors: Guy de Maupassant (French, 1850 – 1893) – author. Исаак Эммануилович Бабель [Isaac Babel] (Russian-Jewish, 1894 – 1940) – translation editor. Натан Исаевич Альтман [Nathan Altman] (Russian-Jewish, 1889 – 1970) – artist. Александра Николаевна Чеботаревская (Russian, 1869 – 1925) – translator. Инна Гермогеновна Смидович (Russian, 1870 – 1940/42) – translator. Валентина Александровна Дынник-Соколова (Russian, 1898 – 1979) – translator. Александр Самойлович Элиасберг [Alexander Eliasberg] (Russian-Jewish, 1878 – 1924) – translator. Александра Михайловна Моисеева [А. Мирэ] (Russian, 1874 – 1913) – translator.
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  • Alexandre de Vesme. Le peintre-graveur italien; ouvrage faisant suite au “Peintre-graveur” de Bartsch. — Milan: U. Hoepli, 1906.

    Description: 4to, 26 x 21 cm, hardcover ¾ brown percaline over marbled boards, gilt lettering to spine, marbled endpapers, publisher’s original wrappers preserved (bound-in), engraved bookplate “EX LIBRIS | Rodolfo …“ to verso of the 1st blank leaf. Printed in 1905 by Imprimerie Humbert Allegretti (Milan). Collation: 4to; front wrapper, π3 (blank, h.t., t.p.), 1-684, back wrapper; total 275 leaves within the wrappers. Pagination: [6] [1] 2-542 [2], total 550 pages. Contributors: Alessandro Baudi di Vesme [Alexandre de Vesme] (Italian, 1854 – 1923) Adam Bartsch (Austrian, 1757 – 1821) Ulrico Hoepli [Johannes Ulrich Höpli] (Swiss-Italian, 1846 – 1935) U. Hoepli (Milan)
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  • Otani [Ōya] Sadao. Enjoying brass inlay tsuba: 100 Tsuba. — Tokyo: Ōtsuka Kōgeisha Co. Ltd., 1999.

    Description: Hardcover oblong volume 16 x 23.3 cm with black pictorial paper boards lettered in red and white to front cover and spine, in an ochre slipcase sprinkled brown and lettered in black to front and spine; grey endpapers, pp. [2] 3-130 [2], with a bookshop ticket to back pastedown “ISSHINDō”. Illustrated descriptions of 100 Japanese sword handguards (tsuba) with brass inlay. Title-page: 楽しい真鍮象嵌つば | 100 鐔 | 大谷定夫著 [Tanoshii Shinchū-Zōgan Tsuba | Hyakutan | Ōya Sadao cho]  (Enjoying Brass Inlay Sword Guards | 100 Sword Guards | Author: Ōya Sadao) Colophon: Published December 15, 1999 Price: ¥3,800 (base price ¥3,619) Author: Ōya Sadao (大谷定夫) Producer: Ōtsuka Kōgeisha International Publisher: Ōtsuka Kōgeisha Co. Ltd. (大塚工藝社)Phone 103–0016 Tōkyō-to, Chūō-ku, Nihonbashi Koami-chō 1–5 Tel. 03–5642–3511 (Representative) Fax 03–5642–3618 Design: Takahashi Tōru (高橋享) Photography: Kitami Noboru (北見登) Kishioka Yasuhiro (岸岡保弘) ISBN4–900298–03–4 C0072 ¥3619E Subject: Ōnin tsuba; Heianjō tsuba; Suemon-zōgan; Ten-zōgan; Japanese sword handguards; Japanese sword fittings; Tosogu.
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  • Erzählungen am Toilettentische von Choisy le Conin [i.e. Franz von Bayros].

    Publisher's flapped portfolio 32.8 x 26.8 cm, gilt-ruled and gilt-lettered quarter faux-parchment waxed paper over brown paper boards with pasted illustration after von Bayros within gilt arabesque frame. Possibly published in Vienna by Heinrich Conrad in 1905 or 1908. The portfolio contains the title page with a vignette and 15 loose wove paper sheets 32 x 26.2 cm of collotype reproductions after drawings by Franz von Bayros. Cover gilt lettering: Choisÿ | le Conin | Erzählungen | am | Toiletten- | tische || Title-page: Erzählungen | am Toilettentische | von | CHOISY LE CONIN | {vignette} || Title-page verso: Inhalt: | 1. Die Tabaksdose | 2. Viola de Gamba | 3. Der Bote | 4. Nicht drängeln, Kinder! | 5. Die blaue Feder | 6. O what a pretty like-place! | 7. Die Sonnenuhr |8. Der Temel der der Cotÿs | 9. Der Fetischist | 10. Jupiter und Europa | 11. Die Witwe | 12. Paroxÿsme-erotique | 13. Der Rivale | 14. Die rote Lehrerin | 15. Tantalus | Nicht im Handel. || Catalogue raisonné: The amorous drawings of the Marquis von Bayros / Part I and II. — NY: Cythera Press, 1968; pp. 95-111 [LIB-2246.2019]  
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  • Josef Halfer. The progress of the marbling art … with a supplement on the decoration of book edges / translated by Herman Dieck. — Buffalo, NY: Louis H. Kinder, 1893.

    Description: One volume 22.8 x 25.4 cm, in contemporary gilt-ruled brown half morocco over green buckram boards, spine with raised bands, gilt in compartments, lettered in gilt, marbled endpapers, all edges marbled, printed in sanguine; pp. [6] [1-3] 4-234 [4], 36 blank leaves ruled red, 12 blank leaves; total 170 leaves; 35 mounted marbled paper samples on 10 sheets. Title-page: THE PROGRESS | OF THE MARBLING ART | FROM | TECHNICAL SCIENTIFIC PRINCIPLES | BY JOSEF HALFER | WITH A SUPPLEMENT ON THE | DECORATION OF BOOK EDGES | Translated by Herman Dieck, Philadelphia {gothic} | BUFFALO, N. Y. | LOUIS H. KINDER | 1893 || Edition: 1st American edition (and first edition in English) after two editions in Budapest (Austro-Hungary) in 1884 and 1890. Contributors: Josef Halfer (Austrian, 1846 – 1916) – author. Herman Dieck (American, fl. 1883 – 1896) – translator. Louis H. Kinder (American, 1867 – 1938) – publisher.  
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  • Variations: Drawings, water colors, etchings and lithographs by Vertès / Text by Claude Roger-Marx. — Greenwich, CT: New York Graphic Society, 1961.

    Description: Hardcover volume, 33 x 25.5 cm, bound in grey cloth, vignette and Vertès signature fac-simile to front cover, unclipped ($ 17.50) pictorial dust jacket with black lettering, polyester jacket cover, pp.: [2] [1-4] 5-150 [2], 77 leaves total, 151 ils. Title-page: VARIATIONS | Drawings, water colors, etchings and lithographs | by | VERTÈS | Text by | CLAUDE ROGER-MARX | { publisher’s device} | NEW YORK GRAPHIC SOCIETY | GREENWICH, CONNECTICUT || Limitation: limited edition of 1,000 copies of which 5 copies (A-E) enriched with one original drawing; 100 copies (№ 1-100) enriched with one original signed lithograph; and 895 copies (№ 101-1000). This is copy № 984. Contributors: Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Claude Roger-Marx (Jewish-French, 1888 – 1977) – author.
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  • [Feodor Rojankovsky, dit Rojan]. Quatorze études originales pour Vers Libres de Raymond Radiguet, c. 1935.

    Portfolio of 14 original watercolour illustrations for Vers Libres by Raymond Radiguet. Painted on wove paper of different sizes, each mounted in a passe-partout 39,5 x 33 cm and enclosed in a flapped portfolio with a white label to front cover lettered "14 études originales | pour | VERS LIBRES | de | Raymond Radiguet | par | ROJAN". For published versions see:
    1. [LIB-2830.2021] Raymond Radiguet. Vers libres / [Illustrés par Rojan]. — Champigny: Au Panier Fleuri [i.e. Paris, René Bonnel, c. 1935].
    2. [LIB-2827.2021] Raymond Radiguet. Vers libres / Illustrés par Rojan. — Nogent: Au Panier Fleuri [i.e. Paris, c. 1937].
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  • Longus. Daphnis et Chloé / Traduction de Jacques Amyot, revue et corrigée par Paul-Louis Courier, illustré par Marcel Vertès. — Paris: Manuel Bruker, 1954.

    Description: Original pictorial wrappers, folio, unbound, in a double slipcase with gilt lettering to spine; pp. [4] [1-12] 13-204 [4], 53 folded leaves, 47 dry-point illustrations after Marcel Vertès. Limitation: Edition of 140 copies on Arches paper of which 20 copies (№ 1-20) enriched with one original drawing, one suite of plates incl. 5 cancels and 5 full-page prints; 105 copies (№ 21-125); 15 copies (№ I-XV) for collaborators of witch 5 enriched with an original drawing and a complete suite of plates. This is copy № 45, enriched with an A.L. signed by Claude Roger-Marx (Jewish- French, 1888 – 1977). Colophon: Printed on January 15, 1954 in Paris on a press of madame J.-G. Daragnès by Éditions Manuel Bruker. Catalogue raisonné: Vokaer № 57. Other titles: Daphnis and Chloe (en), Daphnis et Chloé (fr), Daphnis und Chloe (de), Dafnis y Cloe (es),  Gli amori pastorali di Dafni e Cloe (it). Other editions in this collection: LIB-2870.2021 and LIB-1926.2019. Contributors: Longus [Λόγγος] (Greek, 2nd century AD) – author Jacques Amyot (French, 1513 – 1593) – translator Paul Louis Courier (French, 1772 – 1825) – editor Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist/illustrator Jean-Gabriel Daragnès (French, 1886 – 1950) – printer Manuel Bruker [Mendel Brucker] (Jewish-Hungarian-French, 1891 – 1979) – publisher Portrait of Jacques Amyot engraved by Nicolas de Larmessin I (French, 1632 – 1694) in this collection: Isaac Bullart. Academie des sciences et des arts / 2 volumes. — Amsterdam: Elzevier [i.e. Brussels: Foppens], 1682. [LIB-2676.2021]:
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  • Oliver Hill. Pan’s garden. — London: Philip Allan & Co. Ltd., 1928.

    Description: Hardcover photographic pictorial album, 29.2 x 23.1 cm, quarter crimson percaline over grey cloth with lettered paper labels to front cover and spine, grey endpapers; pp. [1-4] 5-109 [3], total 56 leaves, additional spine and cover labels tipped-in. Oliver Hill (British, 1887 – 1968).
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  • Breitenbach Aktphotographien. — Berlin: Galerie Bodo Niemann, 1998.

    A pictorial photographic album, 19.5 x 15.3 cm, hardcover, paper pictorial covers, pictorial endpapers, pp. [2] 3-39 [40]; total 20 leaves; text by Susan Jacobasch, photographs by Josef Breitenbach. Published in connection with the exhibition "Josef Breitenbach" on October, 10 – November 28, 1998, at Galerie Bodo Niemann in Berlin. Josef Breitenbach (Jewish-German-American, 1896 – 1984).
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  • Jean-Pierre Dutel. Bibliographie des ouvrages érotiques publiés clandestinement en français entre 1650 et 1970 [Supplément). — Paris: J.-P. Dutel, 2021.

    Description: Publisher’s wrappers 24 x 17 cm, pp. [1-6] 7-125 [3], total 64 leaves, edition limited to 150 copies. Includes “Errata & Addenda”, published in 2022. Cover and title-page: JEAN-PIERRE DUTEL | – | BIBLIOGRAPHIE | DES | OUVRAGES ÉROTIQUES | PUBLIÉS CLANDESTINEMENT EN FRANÇAIS | ENTRE 1650 ET 1970 (SUPPLÉMENT) | {publisher’s device} | J-P DUTEL, LIBRAIRE-ÉDITEUR | 16, RUE JACQUES-CALLOT 75006 PARIS | MMXXI ||
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  • [Achille Deveria]. La bibliothèque des romans: Une veillée de jeune fille, 1840 [i.e. c. 1842].

    Description: Pictorial album 29.7 x 24 cm, bound in ¾ red morocco over marbled boards with gilt lettering “LA BIBLIOTHÈQUE DES ROMANS” and raised bands to spine; marbled endpapers, two flyleaves, tan original wrapper lettered “La Bibliothèque des Romans. (gothic, arch) | {colour vignette} | UNE VEILLÉE DE JEUNE FILLE. | 1840. || Six hand-coloured lithographs, each in a double-rule border with the series title above it and image title below. Sequential numbers are hand-inscribed within the border in the upper-right corner. Frame 23.5 x 18.3 cm, image 21.5 x 16.5 cm. Three flyleaves at the end. A bookplate to front pastedown: “GERARD NORDMANN EX-LIBRIS”. Content:
    1. Front wrapper (title-page)
    2. SŒUR ANNE (Sister Anne)
    3. LA GRISETTE (The grisette)
    4. LÉONIDE OU LA VIEILLE DE SURÊNE (Léonide or the old lady of Surêne)
    5. LA PUCELLE DE BELLEVILLE (The maid of Belleville)
    6. MON VOISIN RAYMOND (My neighbor Raymond)
    7. LE COCU (The cuckold)
    Catalogue raisonné: Nordmann/Christie’s (I) № 127, p. 86 (Lithographic title and 6 erotic plates, in the Romantic style of Achille Devéria. Original pictorial front wrapper preserved) Provenance: Gérard Nordmann (French, 1930 – 1992). Achille Jacques-Jean-Marie Devéria (French, 1800 – 1857).
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  • J. Armelhault & E. Bocher. Gavarni: Catalogue raisonné of the graphic work / A revision of the 1873 edition, with essays by Gordon N. Ray and Robert J. Wickenden, and 61 new plates. — San Francisco: Alan Wofsy Fine Arts, 2004.

    Description: Hardbound 24 x 16 x 5 cm, green cloth with gilt lettering to spine, in pictorial dust jacket. A revised re-print of L'Œuvre de Gavarni par J. Armelhault et E. Bocher. — Paris: Librairie des bibliophiles, 1873, with essays in English. Title-page: GAVARNI | CATALOGUE RAISONNÉ | OF THE GRAPHIC WORK | BY | J. ARMELHAULT & E. BOCHER | A REVISION OF THE 1873 EDITION | WITH ESSAYS IN ENGLISH | BY GORDON N. RAY | AND ROBERT J. WICKENDEN | AND SIXTY-ONE NEW PLATES | SAN FRANCISCO | ALAN WOFSY FINE ARTS | – | 2004 || Pagination: [1-4] 5-104, [i-v] vi-xiii [3] 1-627 [628]; total 374 leaves. Contributors: Paul Gavarni [Sulpice Guillaume Chevalier] (French, 1804 – 1866) Marie Joseph François Mahérault [J. Armelhault] (French, 1795 – 1879) Emmanuel Bocher (French, 1835 – 1919) Gordon Norton Ray (American, 1915 – 1986) Robert John Wickenden (British-American, 1861 – 1931)
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  • [Paul Gavarni]. Scènes de la vie privée (Scènes de la vie intime): 6 [i.e. 12] lithographies. — [Paris: Aubert et Cie, 1837]

    Pictorial album 31 x 22.8 cm, bound in quarter red calf over marbled boards with gilt lettering “SCÈNES | DE | LA VIE | PRIVÉE” and gilt ornament to spine; marbled endpapers, flyleaf, blue original wrapper (title-page) lettered SCÈNES | DE LA VIE PRIVÉE. | {vignette} | SIX DESSINS || «Six dessins» struck out, ms inscription beneath “Douze”. Twelve hand-coloured lithographs, some inscribed with letters and/or numbers in reverse, each in a double-rule frame 22 x 16.5 cm, images 18 x 14.5 cm (approx.); series title “Scènes de la vie intime” printed above the frame, image title printed in the lower compartment; ms numbers above the upper-right corner of the frame (state before sequential numbers, ms numbers do not correspond with artist numbering). Flyleaf at the end. Two bookplates to front pastedown: “EX-LIBRIS PAUL GAVAULT” and armorial “IN ROBORE ROBUR | Ex Libris Bourlon de Rouvre”. Content (Roman numerals in parenthesis are publisher's numbers; numerals in italic are Armelhault-Bocher reference numbers):
    1. Titre de la couverture (Title-page) – 2001
    2. (III) Un nid dans les blés (A nest in the wheat) – 2004
    3. (II) Amitié de pension (Friendship in the pension) – 2003
    4. (XI) Bras dessus, bras dessous (Arm up, arm down) – 2012
    5. (I) Causerie (Chat) – 2002
    6. (VI) Prélude (Prelude) – 2007
    7. (IX) Le guet-apens (Ambush) – 2010
    8. (V) Le cabinet noir (The dark chamber) – 2006
    9. (IV) Distraction (Entertainment) – 2005
    10. (X) Leçon de paysage (Landscape lesson) – 2011
    11. (VII) Avant le péché (Before sin) – 2008
    12. (VIII) Après le péché (After sin) – 2009
    13. (XII) La femme du peintre (The painter's wife) – 2013
    Catalogue raisonné: Armelhault-Bocher (2004) p. 478-80, №№ 2001-2013, all marked ‘RRR’ – extremely rare. Ref.: J. Armelhault & E. Bocher. Gavarni: Catalogue raisonné of the graphic work / A revision of the 1873 edition, with essays by Gordon N. Ray and Robert J. Wickenden, and 61 new plates. — San Francisco: Alan Wofsy Fine Arts, 2004 [LIB-1581.2018]. Artist: Paul Gavarni [Sulpice Guillaume Chevalier] (French, 1804 – 1866) Provenance: Charles Bourlon de Rouvre (French, 1850 – 1924) and Paul Armand Marcel Gavault (French, 1866 – 1951).    
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  • [Pierre Mac Orlan.] Petites cousines: Alice, Simonne, Marcelle, Andrée / [Illustrations de Schem]. — Aux dépens d’un amateur et pour ses amis, [c. 1948].

    Description: Softcover, 22 x 17 cm, in a blue-grey double slipcase 23.3 x 17.8 cm, publisher’s French flapped wrappers with a pink burning heart pierced with arrow diaper pattern, 15 unbound gatherings in 4to, and a suite of 12 stencil-coloured photogravures (au pochoir) after Shem, printed on wove pur fil paper; numerous tailpieces and in-text vignettes in blue. Half-title: Petites Cousines || Title-page: Alice • Simonne | Marcelle • Andrée | — | Souvenirs érotiques d’un homme | de qualité touchant les petites | cousines... les femmes du monde | et les belles filles de province | AUX DÉPENS D'UN AMATEUR ET | ~~ POUR SES AMIS ~~ || Pagination: [4] [1-4] 5-111 [112] [4], total 120 pages, incl. those in wrappers; 12 unnumbered suite of plates laid-in. Limitation: An edition of 255 copies of which 5 copies on Arches paper, enriched with one suite in b/w and one coloured plus one original drawing and two sketches (№№ 1-5); 15 copies on Arches paper, enriched with one suite in b/w plus one original drawing and one sketch (№№ 6-20); 235 copies on Pur Fil paper (№№ 21-255). This copy is № 85, with a suite of plates in colour. Catalogue raisonné: Dutel № 965, pp. 31-2. Note: Title-page per Dutel ALICE • SIMONNE | MARCELLE • ANDRÉE | — | Souvenirs érotiques d’un homme | de qualité touchant les petites | cousines... les femmes du monde | et les belles filles de Province | AUX DÉPENS D'UN AMATEUR ET | ~~ POUR SES AMIS ~~ || Contributors: Pierre Mac Orlan (born Pierre Dumarchey] (French, 1882 – 1970) – author. Schem [real name Raoul Serres] (French, 1881– 1971) – artist.
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  • [Pierre Louÿs]. Douze douzains de dialogues ou petites scènes amoureuses / [Illustrée par André Collot]. — [Paris: Robert Télin, 1927].

    Description: An unbound softcover volume 23.5 x 18 cm collated in 4to, text in fac-simile manuscript printed on Japon Nacre wove paper with untrimmed outer and bottom margins, with 12 laid-in hand-coloured etchings, including the title-page, after André Collot; in red quarter morocco over marbled boards folder with gilt lettering to spine “P. L. | ~ | PETITES | SCÈNES | AMOUREUSES”, in a red faux ostrich leather clamshell box 26.7 x 21 cm. A copy without the limitation page. Title-page: {vignette in colour} | Douze douzains de Dialogues | ou | Petites scènes amoureuses | * || (text in fac-simile ms). Content: (97 dialogues, not 144), similar to Pia: Premier douzain : Dialogues des Filles nues (1, 3, 4, 5, 6) – 5 dialogues; Deuxième douzain : Dialogue[s] des Masturbées (13, 14, 15, 16, 17, 18, 19, 20, [21]) – 9 dialogues; Troisième douzain : Dialogues des Masturbées (25, 26, 27, [28], 29, 30, 31, 32, 33) – 9 dialogues; Quatrième douzain : Dialogues des Lécheuses (37, 38, 39, 40, 41, 42, 44) – 7 dialogues; Cinquième douzain : Dialogues des Phallophores (49, 50, 51, 52, 53, 54) – 6 dialogues; Sixième douzain : Dialogues des Goules (61, 62, 63, 64, 65, 65 (i.e. 66), 67, 68, 69, 70, 71) – 11 dialogues; Septième douzain : Dialogues des Amoureuses (73, 74, 75, 76, 77, 78, 79, [80]) – 8 dialogues; Huitième douzain : Dialogues des Enculées (85, 86, 87, 88, 89, 90, 91, 92, 93, 94, [95])  – 11 dialogues; Neuvième douzain : Dialogues des Chieuses (97, 98, 99, 100, 101, 102, 104) – 7 dialogues; Dixième douzain : Dialogues des Pisseuses (109, 110, 111, 112, 114) – 5 dialogues; Onzième douzain : Dialogues des Mères (121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132) – 12 dialogues; Douzième douzain : Dialogues des Enfants (134, 135, 136, 137, 138, 139, [140])  – 7 dialogues. Collation: unpaginated, unbound [1]2 [16]4; total 66 leaves plus 12 plates, incl. t.p. In reality, when compared with another copy of the same book [LIB-3144.2023], the first gathering should have consisted of four leaves: 11 blanks, 12 engraved t.p. / blank, 13 blank / limitation, 14 faux t.p. Premier Douzain Dialogues des Filles nues. Edition: This copy of "calligraphié" Douze douzains de dialogues ou petites scènes amoureuses was most probably published in Paris by Libraire Robert Télin in 1927, 100 copies on Japon Nacre as per Dutel (1920-1970) № 1427. However, per Dutel (1) the title-page lettering is all in capital letters, (2) the illustration printed on p. 545 differs from the one in my copy, (3) the number of leaves is 68, while in my copy it is 66. Another "calligraphié" edition published in c. 1940 (Dutel 1429) is bound and has 80 leaves. Dutel unequivocally attributes the drawings to André Collot. Plates in this copy are similar to the ones in a pirated copy of Scènes de péripatéticiennes / Douze douzains de dialogues [LIB-2961.2022] (Dutel № 2366). According to Pia (1978) № 358, this is a 1927 edition published in Paris by libraire Robert Télin: « 1 f. blanc, 1 f. (justification), 1 f. (titre) et 65 ff. n. ch., plus 11 gravures à l’eau-forte rehaussées de couleurs ». Pia describes the folder and the box (chemise et étui) with lettering to spine almost as in my case: “P. L. | – | Petites | scènes | amoureuses” (lower case). Per Pia, illustrations are after André Collot (French, 1897 – 1976) or Louis Berthomme Saint-André (French, 1905 – 1977). Edition limited to 100 copies numbered I – C. There is no limitation statement in my copy, which may explain why my copy has fewer leaves than per Dutel and Pia. Catalogue raisonné: Dutel (1920-1970) №№ 1427 and 1429, p. 137 and № 2366, p. 356 ; Pia (1978) 358-9, p. 199-200. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. André Collot (French, 1897 – 1976) – artist.
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  • Wanda de S… [i.e. Anonymous]. Françoise ou les plaisirs du mariage. — Aux allées des roses [i.e. Dijon: Darantiere, c. 1937].

    Description: Softcover, 23 x 14.5 cm, original flapped wrappers, spine and front cover lettered in blue «WANDA DE S…. | FRANÇOISE | OU | LES PLAISIRS DU MARIAGE | AUX ALLÉES DES ROSES», leaves untrimmed. Title-page: WANDA DE S…. | FRANÇOISE | OU | LES PLAISIRS DU MARIAGE | {vignette} | AUX ALLÉES DES ROSES ||  Collation: [1]8 (1 blank in wrapper, 1 blank, h.t., t.p., f.t.p., 3 leaves of text), 2-148 154 (uncut), 116 leaves total plus 10 hand-coloured photogravures by anonymous, extraneous to collation. Pagination: [1-10] 11-224 [8], ils.; 232 pages total. Limitation: edition under subscription, limited to 600 copies of which 100 copies (№ 1-100) on pur fil and 500 copies (№ 101-600) on Vélin, this is № 142. Edition: 1st edition thus, printed by Maurice Darantiere, illustrated with 10 full-page coloured photogravures after an anonymous artist, attributed by some to Feodor Rojankovsky [Rojan] and by some to Louis Berthomme Saint-André. According to J.-P. Dutel, the original watercolours in his collection signed Véronique. Catalogue raisonné: Dutel (1920-1970): 1605, p. 176; honesterotica.com.  
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