//2016
  • Utagawa Toyokuni I. Segawa Kikunojo as Shinanoya Ohan and Arashi Hinosuke as Obiya Choemon. Circa 1800.

    Utagawa Toyokuni I. Kabuki actors Segawa Kikunojō III as Shinanoya Ohan and Arashi Hinasuke II as Obiya Choemon, c. 1800.

    Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Title: 「しなのやおこん 瀬川菊之丞」「帯屋長右衛門 嵐雛助」 Kabuki play: Katsuragawa Renri no Shigarami [桂川連理柵]. According to Waseda University Cultural Resource Database, the play was performed at Ichimura-za (Edo) on the 2nd month of Kansei 12 (year 1800) under the title 楼門五山桐 さんもんごさんのきり. Publisher: Nishimuraya Yohachi [西村屋与八] (Japanese, c. 1751 – 1869)., Play by Suga Sensuke [菅専助] (ca. 1728 – 1791) in two acts. First performed at Kita Horie-za in Osaka in October 1776. Based on a real incident occurring sometime in the Kyōhō era (1716-35), this story was first dramatized in 1761. The first Kabuki drama to stem from this play was in 1777 at Osaka's Araki-za. Obiya Chōemon, a married obi merchant (sitting with abacus) in his forties, meets his neighbour's daughter Ohan (standing behind Obiya), who is young enough to be his daughter, at an inn in Ishibe; the two fall in love and pledged their troth. Ohan becomes pregnant. After a series of misfortunes, the lovers rush to Katsuragawa (Katsura River), where they drown themselves.

    Segawa Kikunojō III (Japanese, 1751 – 1810); other names: Segawa Senjo, Segawa Rokō III, Segawa Tomisaburō I, Ichiyama Tomisaburō, Ichiyama Shichinosuke. The actor held the name of Segawa Kikunojō III from the 11th lunar month of 1774 to the 7th lunar month of 1801. He surpassed all the actors of his time in both female and male roles, especially in the former, and achieved tremendous public acclaim.

    Arashi Hinasuke II [嵐雛助] (Japanese, c. 1774 – 1801); other names: Nakamura Jūzō III, Kanō Hidenosuke I, Arashi Hidenosuke I. The actor held the name of Arashi Hinasuke II from the 1st lunar month of 1794 to the 2nd lunar month of 1801. Hi died in Edo on the 4th day of the 2nd lunar month of 1801. For the same characters illustrated by Utagawa Kuniyoshi see SVJP-0333.2021. Sources:
    1. Historical Dictionary of Japanese Traditional Theatre By Samuel L. Leiter. Second edition, 2014.
    2. Kabuki Encyclopedia. An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979.
    3. http://www.kabuki21.com/
    4. Waseda University Cultural Resource Database
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  • David B. Waterhouse. Harunobu and his age: The development of colour printing in Japan. — London: British Museum, 1964.

    Pictorial cloth boards, spiral-bound, pp.: 3 leaves: h.t., frontis., t.p., 1-326; 123 black & white plates within the pagination.

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  • Portrait of Joseph Brodsky by Mikhail Lemkhin / c. 1980s.

    Photographic portrait of poet Joseph Brodsky, head and shoulder, turned slightly right, looking to the right. Pencil-signed on the mat: 1/45 • Mikhail Lemkhin; same inscription on the back of the print, and ink stamp ©Mikhail Lemkhin. Sitter: Joseph Brodsky [Иосиф Александрович Бродский ] (Russian-American-Jewish, 1940 – 1996). Size: mat: 51 x 40.5 cm; window: 34.5 x 27 cm; print: 35 x 28 cm.
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  • Utagawa Kunimasa. Bando Mitsugoro II and Osagawa Tsuneyo II. 1799.

    Utagawa Kunimasa. Bando Mitsugoro II and Osagawa Tsuneyo II. 1799.

    Bando Mitsugoro II as Soga no Taro Sukenobu, the step-father of the Soga brothers, and Osagawa Tsuneyo II as Onio's wife Tsukisayo, in the play 'Omonbi Kuruwa Soga' performed at the Ichimura-za in the 1st month of 1799. Reference: Harvard Art Museums accession number 1933.4.525. Publications: Narazaki Muneshige, Ukiyo-e shuka [Collection of the Masterpieces of Ukiyo-e Prints in Museums] Volume 8: Foggu Bijutsukan [Fogg Art Museum, Harvard University], Neruson Bijutsukan [Nelson Atkins Museum]..., Shogaku-kan (Tokyo, Japan, 1980 [Showa 55]), Color Plate 107; p. 104 (entry p. 191). SOLD
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  • Iron tsuba with design of jakago latticework. Edo period.

    Iron tsuba of oval form decorated with design of jakago (bamboo lattice work) in openwork (sukashi). Copper sekigane.

    Unsigned. Edo period.

    Size: 73.7 x 70.3 x 5.6 mm.

    Note regarding design: though some might think that this piece belonged to a member of the lost tribe of Israel, it did not. Jakago baskets were made of bamboo, filled with rocks and used to catch crabs (besides other uses).

    Jeanne Allen. Designer's Guide to Samurai Patterns. Chronicle Books, San Francisco, 1990; p.51, №57.

     
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  • Жорж-Жак Дантон. Избранные речи. Ред., введ. и прим. проф. Н. С. Гольдина. — Харьков: Государственное издательство Украины, 1924. — 112 стр.; — Тир. 5.000 экз.

    Жорж-Жак Дантон. Избранные речи / Ред., введен. и примеч. проф. Н. С. Гольдина. — Харьков: Государственное издательство Украины, 1924.

    Title page: ЖОРЖ-ЖАК ДАНТОН | ИЗБРАННЫЕ РЕЧИ | РЕДАКЦИЯ, ВВЕДЕНИЕ И ПРИМЕЧАНИЯ | Проф. Н. С. ГОЛЬДИНА | {publisher’s device} | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО УКРАИНЫ | 1924 Lacking wrappers, [2] – blank / frontispiece portrait of Danton, [2] t.p., / imprint, v-xviii, [2] –f.t / blank, 1-111 [112], collation: π2 *8 1-78. Danton, Georges Jacques [Дантон, Жорж Жак] (French, 1759 – 1794). Гольдин, Николай Сергеевич (Ukrainian-Jewish, 1877 – after 1924). Translator unknown.
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  • [Hippolyte Prosper Olivier LISSAGARAY]. History of the Commune of 1871 / Translated from the French of Lissagaray by Eleanor Marx Aveling. London: Reeved and Turner, 1886. pp.: [i-v] vi-xv [1] 2-500.

    Prosper-Olivier Lissagaray. History of the Commune of 1871 / Translated from the French by Eleanor Marx Aveling. — London: Reeves and Turner, 1886.

    Hardcover volume, collated in-8o, 21.9 c 14.6 cm, bound in half red morocco over red buckram by Palmer, Hove & Co. (Manchester), ruled in gilt, marbled end-papers, top edge gilt, spine with raised bands, ruled in gilt, gilt lettering; bookplate "Ex libris William John Robertson" with black ink ms dated 1922 to front pastedown. Insert paper clipping “In Memoriam” marked “D.W. 25.1.61.” Graphite ms to t.p.: “[assisted by Karl Marx]”. Pp.: [i-v] vi-xv [xvi blank], [1] 2-500; collation: ffl blank first and last, π8 A-2H8 2I2. Title-page: HISTORY | OF | THE COMMUNE OF 1871. | Translated from the French of | LISSAGARAY, | BY | ELEANOR MARX AVELING. | LONDON: | REEVES AND TURNER, 196 STRAND. | 1886.|| Contributors: Hippolyte Prosper-Olivier Lissagaray (French, 1838 – 1901) – author. Eleanor Marx [Aveling] (British, 1855 – 1898) – translator. William John Robertson (Canadian, 1846 – 1894) – provenance. The Russian translation of the same title: [LIB-1158.2016] Э. Лиссагарэ. История Парижской Коммуны в 1871 г. (Дешевая библиотека, № 274) / Пер. под ред. В. Базарова. — С.-Петербург: Знание, 1906.
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  • Utagawa Kunisada. Actor Morita Kan'ya XI as Saito Tarozaemon Toshiyuki. 1860.

    Utagawa Kunisada (Toyokuni III). Actor Morita Kan’ya XI as Saito Tarozaemon Toshiyuki, 1860.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Actor Morita Kan'ya XI as Saito Tarozaemon Toshiyuki (Morito Kan'ya, Saito Tarozaemon Toshiyuki) Signed Toyokuni ga within the artist's Toshidama cartouche, publisher's seal Sho, Kinshodo, carver's seal Horiko Ryusan, censor's seal aratame with date 1860, 3rd month. Date: 3/1860. Oban tate-e; 36.5 x 25.3 cm. The actor Morita Kan'ya XI (1802-1863) is in the role of Saito Tarozaemon Toshiyuki from the play Oto no Miya Asahi no Yoroi (Oto no Miyo and the Armor of the Rising Sun). The play picks up following the Genko War of 1331-33 in which Emperor Go-Daigo (1288-1339) led a failed uprising against the ruling Hojo clan. Tarozaemon was a Hojo warlord and is credited with much of the victory. After the conflict, his lord Norisada receives a summer festival lantern from the courtesan Sanmi-no-Tsubone, which bears a riddling inscription. He and Tarozaemon deliberate over the courtesan and her message for quite some time until they realize that she is attempting to manipulate Norisada in the hopes of returning the Emperor from exile. Following this revelation, Norisada reinterprets the message to mean kiriko, literally "to cut a child," and determines that Sanmi-no-Tsubone's son must be killed. He instructs Tarozaemon to do the deed. However, unbeknownst to Norisada and in spite of his allegiance to the Hojo clan, Tarozaemon is sympathetic to Sanmi-no-Tsubone and her son. At one time, his own daughter had served in the Imperial Palace and was spared execution only through Sanmi-no-Tsubone's intervention. As repayment of that debt, he kills his own grandson in the other boy's stead and returns to Norisada to report that he had accomplished the mission. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo's Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors from the past and present in their famous roles. Kunisada was guided by images from his own oeuvre: he recorded Kan'ya in this role in the 8th month of 1829. As this was meant to be Kunisada's grandest actor series, it was executed on thick paper with the best possible pigments and the highest level of craftsmanship. In this unusual frontal portrait, Kunisada presents Morita Kan'ya XI as the loyal Tarozaemon with his eyes rolling upward and his jaw set in grim determination to commit the unthinkable act in an ultimate display of samurai honour. Text by Scholten Japanese Art, New York. Ref.: Waseda University Theatre Museum (enpaku.waseda.ac.jp), accession no. 100-5261 (for 1829 portrait of the same); [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 165 (№ 16). Andreas Marks. Publishers of Japanese woodblock prints: A compendium. Ebisuya Shoshichi (1846-83) - P6032.
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  • Cham| Gustave Janet| Achille Devéria| Honoré Daumier| Jean-Paul Laurens . Charges sur le Communisme, le socialisme et sur les idées de ce genre par les dessinateurs du Charivari, 1848

    Charges sur le Communisme, le socialisme et sur les idées de ce genre par les dessinateurs du Charivari. — Paris: Aubert & Cie., 1848.

    Charges sur le Communisme, le socialisme et sur les idées de ce genre par les dessinateurs du Charivari. Binding: original cardboard. Catalogue raisonée: Hazard & Delteil 1904 / Catalogue raisonné de l'oeuvre lithographié de Honoré Daumier [LIB-2176.2019 in this collection], p. 267: 20 illustrations by Daumier, Cham, Vernier, Ed. de Beaumont. Sticker: Vendu par Francois, Grande-Rue №33, à Rouen. Bought in Paris, seller claimed 1848, first edition. Similar title here : #31. Charges sur le communisme Le socialisme et sur les idées de ce genre par les dessinateurs. Paris, Chez Aubert & Cie., Éditeurs du Journal pour rire, sans date (vers 1865). Relié, plein cartonnage vert décoré et illustré de l'éditeur, in-folio (34,5 x 26 cm) de 20 planches lithographiées. 250 €. Caricatures par Cham (11), Gustave Janet (1), ADC (1), sans nom (3), Daumier (1), Lorentz-Jean-Paul Laurens (3). Nous trouvons pour ce même cartonnage des recueils différents à diverses périodes ; le nôtre doit dater des années 1865-67, moment où Jean-Pierre Laurens fut condamné par la justice du Second Empire pour son anticléricalisme.  
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  • Utagawa Kunisada (Toyokuni III). Superb Edo pictures illustrating dances, 1858.

    Superb Edo pictures illustrating dances (Odori keiyô Edo-e no sakae): Interior of an imaginary theater with a performance of Shibaraku 「踊形容江戸絵栄」. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Nōshūya Yasubei (Japanese, fl. c. 1851 – 1870). Year: 1858 (Ansei 5), 7th month. Size: Vertical ôban triptych; 36.9 x 75.7 cm. Signed: 一陽斎雛獅豊国筆(年玉印) – Ichiyôsai Hinashi Toyokuni ga (on left sheet only). Censor's seal: Horse 7 [午七 彫師]. Subject: Shibaraku. Ref.: MFA impression: 11.44263a-c; Robert Schaap. Kunisada (2016), p. 101 [LIB-1212.2017]. Ref.: [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; p. 38.
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  • Ōnin ten-zōgan tsuba with design of rudder, paddle, and stars. Muromachi period.

    Iron tsuba of round form with design of rudder, paddle, and stars in small openwork (ko-sukshi) outlined with brass wire, and further decorated with inlay of five concentric rows of brass dots or nail heads (ten-zōgan) and circular brass wire inlaid inside the innermost row of dots. Two lower round openings may also serve as udenuki-ana. Copper sekigane. Unsigned. Late Muromachi or Momoyama period, 16th century. Diameter: 90.4 x 89.8 x 2.8 mm.
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  • Charles Virmaitre. Paris-police. — Paris: E. Dentu, 1886. — pp.: [2 wrapper], [2 half-title], 2 title] 1-359 [1 blank], back wrapper.

    Charles Virmaître. Paris-police. — Paris: E. Dentu, 1886.

    Cover:  (black and red in red frame) PARIS POLICE | par | Ch. Virmaitre | PARIS | E. DENTU, ÉDITEUR | LIBRAIRE DE LA SOCIÉTÉ DES GENTES DE LETTRES | Palais-Royal, 15-17-19, Galerie d’Orléans | 1886 || Title page: CH. VIRMAITRE | PARIS–POLICE | {publisher’s device} | PARIS | E. DENTU, ÉDITEUR | LIBRAIRE DE LA SOCIÉTÉ DES GENTES DE LETTRES | PALAIS-ROYAL, 15-17-19, GALERIE D’ORLEANS | 1886 | Tous droits réservés. || Pagination : 3 blank leaves, original pictorial wrapper, [4], [1] 2-359 [360 blank], original back wrapper with publisher's advertisement, 3 blank leaves. Collation: 12mo; π2, 1-1912 206. Binding: owner's hardcover, quarter burgundy percaline, marbled boards, brown title label with gilt lettering, gilt double tail ruler, year, and fleuron to spine; original paper wrappers preserved.
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  • Portrait of Joseph Brodsky by Mikhail Lemkhin / c. 1980s.

    Photographic portrait of poet Joseph Brodsky, head and shoulders, turned slightly right, looking slightly to the right. Pencil-signed on the mat: 5/45 • Mikhail Lemkhin; same inscription on the back of the print, and ink stamp ©Mikhail Lemkhin. Sitter: Joseph Brodsky [Иосиф Александрович Бродский ] (Russian-American-Jewish, 1940 – 1996). Size: mat: 35.7 x 43.3 cm; window: 19.5 x 23 cm; print: 20.3 x 25.3 cm.
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  • Ōnin ten-zōgan tsuba. Muromachi period.

    Iron tsuba of round form decorated with inlay of four concentric rows of brass dots or nail heads (ten-zōgan) and a circular brass wire inlay inside the innermost row of dots. Copper sekigane. Muromachi period, 15th or 16th century. Unsigned. Ōnin school. Size: 87.9 x 87.8 x 2.2 mm. Ōnin school got its name from the Ōnin War (応仁の乱 - Ōnin no Ran) - a civil war that lasted 10 years (1467–1477) during the Muromachi period in Japan.
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  • Анна Комнина. Алексиада / Пер., комм. Я. Н. Любарского. (Византийская библиотека. Источники). — СПб.: Алетейя, 2010.

    Title: АННА КОМНИНА | АЛЕКСИАДА | Перевод, комментарий и статьи | Я. Н. Любарского | Издание третье, исправленное и дополненное | Санкт-Петербург | АЛЕТЕЙЯ | 2010 || Series: Византийская библиотека. Источники. Pagination: [i-v] vi-lxvi [1] 2-682 [4]. Binding: 21.5 x 15 cm; hardcover, crimson buckram, gilt lettering, border and serial device on black. Edition: 3rd edition. Print run: 1,000 copies. ISBN: 978-5-91419-301-7. Anna Komnene [Άννα Κομνηνή; Anna Comnena] (Byzantine, 1083 – 1150s). Любарский, Яков Николаевич (Russian, 1929 – 2003)
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  • NAPOLEON IN CARICATURE 1795-1821. By A. M. Broadley. 1911

    A. M. Broadley. Napoleon in caricature, 1795-1821. — London, New York: John Lane, 1911.

    NAPOLEON IN CARICATURE 1795-1821. By A. M. Broadley with an introductory essay on pictorial satire as a factor in napoleonic history by J. Holland Rose, Litt. D. Cantab. with nearly 250 illustrations, 24 in colour. Published by in London: John Lane, the Bodley Head, and New York: John Lane Company, 1911 in Two Volumes. Vol. I with 391 pages, 13 color plates and 99 full page illustrations. Vol. II with 441 pages, 11 color plates and 108 full page illustrations.

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  • Н. Л. [Бутми де Кацман Георгий Васильевич]. Фран-масонство и государственная измена. Издание В. П. — СПб.: тип. газеты "Россiя", 1906. — 77 стр.

    Н. Л. Фран-масонство и государственная измена. — СПб.: Издание В. П., 1906.

    Cover and title page: Н. Л. | ФРАН-МАСОНСТВО | И | ГОСУДАРСТВЕННАЯ ИЗМѢНА. | Изданiе В. П. | С.-ПЕТЕРБУРГЪ | Типографиiя газеты «Россiя». Бассейная, 3. | 1906 г. || Pagination: [1-3] 4-77 [3]; collation: [1]8 2-58; 23 x 15.5 cm, in publisher’s lettered wrappers, library and bookstore stamps. A reprint of an article published in № 4 of the magazine "Море и его Жизнь", January 1905. Allegedly a translation and a brief exposition of La franc-maçonnerie et la Révolution française by Maurice Talmeyr [Marie-Justin-Maurice Coste] (French, – 
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  • Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004.

    One hardcover volume, 30.2 x 25.3 cm, in red cloth blind stamped to front and spine with lettering, in pictorial dust jacket; pp.: [1-4] 5-359 [360], total 180 leaves, profusely illustrated. Subject: Japan; Theatre; Kabuki theatre; Kabuki actors; Woodblock prints. Contributors: Arendie Herwig (Dutch, fl. 2002 – 2016); Henk Herwig (Dutch, fl. 2002 – 2017).
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