• Ivory netsuke with the design of wrestling Oni by Kaigyokusai Masatsugu [懐玉齋正次].

    Signed: Masatsugu [正次] Osaka School. Made: 1850-1900; Late Edo - Meiji Period. Dimensions: 44 x 40 x 33 mm.

    The right hand of the upper Oni and one toe of the lower Oni are missing. Ref.: Raymond Bushell. Collector's netsuke. Weatherhill, NY, Tokyo; Ninth printing, 2002, pp. 84-87. "Kaigyokusai Masatsugu (1813-1892) was an Osaka based carver renowned for his flawless technique as illustrated upon this netsuke with its finely carved ivory form, with no staining and bright inlaid eyes" (V&A).

  • Ivory netsuke with a design of a man (possibly - Ariōmaru) wrestling a giant octopus.

      Circa 1850. Dimensions: 45.5 x 48.3 x 37.8 mm

    Unsigned.

  • Netsuke with a design of a laughing peasant carrying a basket and holding a giant mushroom in his right hand.

    18th century Dimensions: 55.7 mm tall

    Unsigned. According to Merrily Baird (Symbols of Japan, page. 93): ... This prominent use in the symbol-rich netsuke art form, however, reflects more their sexual symbolism than either their dietary appeal or interesting shapes. Mushrooms in Japan are generally a symbol of fertility, with some flat varieties, like shiitake, being associated with females. In contrast, the matsutake mushroom (Armillaria edodes) is a phallic symbol, as befits its thick, spearlike stem and the fact that it is consumed before cap opens.

    Female Daruma Riding a Mushroom [女達磨]. Ippitsusai Bunchô (1765–1792). MFA impressions: 11.18513, 21.4758

  • Circular tsuba (marugata ) with design of futatsu-domoe (twofold tomoe) in negative openwork (kage-sukashi), folded-over rim (uchikaeshi-mimi ). The ‘head’ of the left tomoe altered to form an opening for scabbard accessory (kata-hitsu-ana), adorned with gold ategane fitting with file marks (tate-yasurime). The hammer-blow finish of the surface (tsuchime-ji). Signed to the left of nakaga-ana: Yamakichibei (山吉兵). Attributed by Steve Waszak a the Second Generation (Nidai) master.

    NBTHK paper [translated by Markus Sesko]:

    Tomoe-sukashi-tsuba (巴透し鐔).

    KANTEI-SHO (鑑定書) - APPRAISAL No 451718

    Futatsu-domoe sukashi-tsuba (二巴透鐔) ‒ Tsuba with two tomoe comma openwork design

    Signed: Yamakichibei (山吉兵)

    Round shape (marugata ), iron, hammerblow finish (tsuchime-ji ), negative openwork design (kage-sukashi ), folded-over rim (uchikaeshi-mimi ), one opening for scabbard accessory

    (kata-hitsu-ana) (with gold ategane fitting)

    According to the result of the shinsa committee of our society, we judge this work as authentic

    and rank it as Hozon Tōsōgu.

    February 20, 2007

    [Foundation] Nihon Bijutsu Tōken Hozon Kyōkai, NBTHK (日本美術刀劍保存協會)

    Diameter: 76 mm, thickness at center 3.9 mm, thickness at rim: 5.1 mm; weight: 102.5 g

    Tomoe (Comma): The character (Chinese pronunciation bā). A pattern resembling the two-comma tomoe (futatsu-domoe) has been found in ancient cultures on all inhabited continents. ...aside from their military function, a ritual or fetish value, perhaps related to their testicular shape. It also has yin-yang connotation. The gold sekigane confirms the high value of the piece to the owner.

  • Three priests: Le Pere Matthieu Ricci, Le Pere Adam Schaal, and Le Pere Ferdinand Verbiest. Three priests with navigational instruments. Image taken from Description geographique, historique, chronologique et physique de l'Empire de la Chine et de la Tartarie Chinoise. Enrichies des cartes generales et particulieres de ces pays, etc. by Jean-Baptiste Du Halde (1674–1743), vol. 3, page 78. Originally published/produced in La Haye [The Hague], 1736. J.v.Solingen fecit

    Jean-Baptiste Du Halde (Chinese: 杜赫德; 1 February 1674 – 18 August 1743) was a French Jesuit historian specializing in China. He did not travel to China, but collected seventeen Jesuit missionaries' reports and provided an encyclopedic survey of the history, culture and society of China and "Chinese Tartary," that is, Manchuria. Voltaire said of Du Halde's work: "Although it is developed out of Paris, and he hath not known the Chinese, [he] gave on the basis of the memoirs of his colleagues, the widest and the best description the empire of China has had worldwide." Le Pere Matthieu Ricci, a.k.a. Matteo Ricci, S.J. (Italian pronunciation: [matˈtɛːo ˈrittʃi]; Latin: Mattheus Riccius Maceratensis; 6 October 1552 – 11 May 1610), was an Italian Jesuit priest and one of the founding figures of the Jesuit China missions. His 1602 map of the world in Chinese characters introduced the findings of European exploration to East Asia. He is considered a Servant of God by the Roman Catholic Church. Ricci arrived at the Portuguese settlement of Macau in 1582 where he began his missionary work in China. He became the first European to enter the Forbidden City of Beijing in 1601 when invited by the Wanli Emperor, who sought his services in matters such as court astronomy and calendrical science. He converted several prominent Chinese officials to Catholicism, such as Xu Guangqi, who aided in translating Euclid's Elements into Chinese as well as the Confucian classics into Latin for the first time. Le Pere Adam Schaal, a.k.a. Johann Adam Schall von Bell (1 May 1591 – 15 August 1666) was a German Jesuit and astronomer. He spent most of his life as a missionary in China (where he is remembered as "Tang Ruowang") and became an adviser to the Shunzhi Emperor of the Qing dynasty. Le Pere Ferdinand Verbiest, a.k.a. Father Ferdinand Verbiest (9 October 1623 – 28 January 1688) was a Flemish Jesuit missionary in China during the Qing dynasty. He was born in Pittem near Tielt in the County of Flanders (now part of Belgium). He is known as Nan Huairen (南懷仁) in Chinese. He was an accomplished mathematician and astronomer and proved to the court of the Kangxi Emperor that European astronomy was more accurate than Chinese astronomy. He then corrected the Chinese calendar and was later asked to rebuild and re-equip the Beijing Ancient Observatory, being given the role of Head of the Mathematical Board and Director of the Observatory. He became close friends with the Kangxi Emperor, who frequently requested his teaching, in geometry, philosophy and music. Verbiest worked as a diplomat and cartographer, and also as a translator because he spoke Latin, German, Dutch, Spanish, Hebrew, and Italian. He wrote more than thirty books. During the 1670s, Verbiest designed what some claim to be the first ever self-propelled vehicle – many claims this as the world's first automobile, in spite of its small size and the lack of evidence that it was actually built.

    Joshua Van Solingen was an engraver and publisher from Holland, working, besides other places, in Scotland. Information about him can be found at Catastrophic Bliss (The Griot Project Book Series) by Myronn Hardy;  Accounting in Scotland (RLE Accounting): A Historical Bibliography edited by Janet E. Pryce-Jones, Robert H. Parker; History of the Scottish Metrical Psalms: With an Account of the Paraphrases ... by John West MacMeeken;  The History of Edinburgh, from the Earliest Accounts to the Present Time ... by Hugh Arnot;  History of the Bassandyne Bible, the First Printed in Scotland: With Notices ... by William T. Dobson.

  • A portrait of Marcello Malpighi from his book Opera posthuma: figuris aeneis illustrata, quibus praefixa est ejusdem vita a seipso scripta, Londini:Churchill, 1697. Inscription: Marcellus Malpighius | Medicus Bononiensis mortuus 29 Novemb. Anno Dom. 1694. Anno aetatis 67. I. Kip. sculp.

    Marcello Malpighi (10 March 1628 – 29 November 1694) was an Italian biologist and physician, who is referred to as the "Father of microscopical anatomy, histology, physiology and embryology" [Wikipedia].

    From European Journal of Anatomy 22(5):433-439 · September 2018, an article by Sanjib Ghosh and Ashutosh Kumar 'Marcello Malpighi (1628-1694): Pioneer of microscopic anatomy and exponent of the scientific revolution of the 17th Century': Italian anatomist and an eminent scientist who significantly contributed to the advancement of the anatomical sciences in the 17th century. Malpighi was one of the first to use the compound microscope (an instrument designed by Galileo in 1609) and made the most important discovery of his life in 1661 when he identified capillaries as connecting vessels between small arteries and veins in the lungs. Malpighi thus provided the missing link in William Harvey's theory of blood circulation. He made significant contributions in the field of embryology based on his observations on chick embryo, and his efforts provided deep insights into the development of the heart and the nervous system. His communications based on microscopic studies scripted valuable details on the structural organization of organs like the liver, kidney and spleen. He identified the hepatic lobule as the fundamental unit of the liver and noted that bile was being secreted by these lobules and not from the gall bladder (the popular belief then). In the kidney, he discovered the glomerulus (Malpighian Corpuscle) and was the first to observe the convoluted tubules in the renal cortex. He was the first to describe the presence of lymphatic bodies (Malpighi's Corpuscle) in the spleen. Although he was exceedingly successful in his scientific activities, his life was fraught with unfortunate events and savage criticism from detractors arising out of professional jealousy and personal feuds. Nevertheless, his exploits were instrumental in understanding the human microscopic anatomy (histology) and his accomplishments have etched his name in the pages of medical science forever.

    The portrait was engraved by Johannes "Jan" Kip (1652/53, Amsterdam – 1722, Westminster) - a Dutch draftsman, engraver and print dealer.

  • Seated portrait of Russian diplomat Count Semyon Romanovich Vorontsov (Семён Романович Воронцо́в; 26 June 1744 – 9 July 1832). Engraved by August Weger (Born: 1823 in Nürnberg; died: 1892 in Leipzig) from the portrait painted by Richard Evans (1784–1871). Circa 1825-50.  Semyon Romanovich Vorontsov, the son of Count Roman Illarionovich and Marfa Ivanovna Surmina, was born on June 15, 1744; Active Privy Councillor; Ambassador to Venice and London from 1784, for over 20 years. Died in London on June 26, 1832.

    Inscription: Графъ Семенъ Романовичь Воронцовъ. Родился въ Москвѣ Iюня 15-го/26 1744, Скончался въ Лондонѣ Iюня 9-го/21 1822. | Le Comte Simon Woronzow. né à Moscou le 26 Juin 1744, Mort à Londres le 21 Juin 1832.  | Richd. Evans, Peintre. - Gravé par A. Weger, Leipzig. Vorontsov family coat of arms in the middle.

    Dimensions: 23 x 15 cm. Ref.: Подробный словарь русских гравированных портретов Д. А. Ровинского, том. 1, 534-540.
  • 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.  
  • Cylindrical incense burner or brush pot decorated in underglaze blue with landscape and text.

    According to Markus Sesko: a poem by Li Bai admiring the beautiful scenery at Mt. Emei. Dimensions: Diameter: 11.5 cm; Height: 10 cm.
  • Iron tsuba of quatrefoil form with design of bamboo stems and leaves in openwork (sukashi) decorated with carving (kebori) . Copper sekigane. Early Edo period, late 17th century (Kanbun / Enppo era). First generation Kanshiro of Nishigaki school in Higo Province died in the sixth year of Genroku, 1693, at the age of 81). Height: 74.4 mm; Width: 74.2 mm; Centre thickness: 4.9 mm. Rounded rim. The design was quite popular among the Higo masters.

    Kanshiro III, early 18th century (Sasano 1994 №267)

     

    Matashichi I, late 17th century (Sasano 1994 №270)

     

    Shigemitsu II, early 18th century (Sasano 1994 №280)

    The design of my tsuba closely resembles the one at the last example (Sasano 1994 №280), however, the form (mine is quatrefoil) and the execution (strength) are very different, which result in a very different spirit of my piece.  
  • Album of 20 hand-coloured lithographs with a title page and a 'justification du tirage' page in an original snakeskin-clothed cardboard binder. Drawn on stone by Anonymous, attributed to Santippa. The theme of these pictures can be described as erotic humour.

    Edition: 200 copies printed in Bruxelles, c. 1938; this copy without a number.

    Watermarked wove paper: Word "Marais" and a flower.

    Dimensions: 24.3 x 29.3 cm According to J.-P. Dutel, the author of these images is Georges Hoffmann under the pseudonym Santippa. Honesterotica provides a different name: Gaston Hoffmann [Santippa] (French, 1883 – 1977), which seems adequate. Catalogue raisonné: Dutel (1920-70): 2496.
  • Iron tsuba with chrysanthemum design in openwork (sukashi). Copper sekigane.

    Late Heian through Kamakura period (ca. 1150 - 1200's).

    Size: 78.4 x 60.9 x 3.5 mm; weight: 45.7 g

    Provenance: Boris Markhasin Message from Boris Markhasin (13-AUG-2019): It is a very rudimentary tachi tsuba, and the iron is old and really nothing to draw attention. However, this is a very old tsuba, and that is what makes it very special and an important study piece. This tsuba likely dates to the late Heian through Kamakura (ca. 1150 - 1200's) -- by consensus, since such examples are extremely rare, and none are mounted to my knowledge, so few direct analogues. The form is interesting for a variety of reasons. The smaller size, an oval form is associated more with 12th/13th c styles. The sukashi kiku motif is very interesting as it clearly pushes back the dating of large scale sukashi far back in time. This shouldn't be surprising, but for some reason, we (really mainly westerners) naively tend to associate sukashi with the Muromachi and younger. The two missing spokes are by consensus likely later removals to accommodate kozuka and kogai -- but this is not certain, and it could be an original styling. A key kantei point is the elongate, narrow, slightly squared seppa dai. This is a characteristic of early koshirae, which were much thinner and more delicate than the types we are used to seeing that date pretty much to the late Muromachi and later. I am always amazed when I have a chance to interrogate early koshirae at how thin they are - I want to call them fragile, but they were actually quite resilient. The walls were super thin, but the top and bottom edges were a bit thicker, providing a bit of structural support... but this is another thread topic. Of all the tsuba I have owned, this is the tsuba that has most clearly reflected the shape of the old style of saya / tsuka.
  • Large iron tsuba with hammer marks on the surface, small oval opening to the right of nakaga-ana; yamagane fukurin chiselled with tortois shell diaper pattern.

    Early Muromachi period (1393-1453). Size: 101.2 x 101.9 x 2.4 (center), 5.2 (rim) mm; weight: 148.4 g.  
  • Iron tsuba with hammer marked surface and design of a plum and cherry blossoms to the right of nakaga-ana in openwork (sukashi). Raised rim, typical to katchushi school. The thickness of the plate provides for later Muromachi period making.

    Late Muromachi period (1514-1573). Size: 85.8 x 85.0 x 3.6 (center), 4.1 (rim) mm; weight: 136 g.  
  • Yamagane (bronze) tsuba (kagami-shi, or mirror-maker) with the design of a star (round opening), tomoe (comma), and suhama in openwork. Surface cast and chiselled with the design of foliage, vines, blossoms, pine needles, and fruits on both sides.

    The end of Early Muromachi period (1393-1453), circa 1450. Size: 83.7 x 84.1 x 3.6 (center), 4.1 (rim) mm; weight: 135.5 g. KANTEI-SHO (鑑定書) - APPRAISAL [translated by Markus Sesko]. No 463341 Tomoe-suhama-sukashi hana-karakusa no zu tsuba (巴洲浜透花唐草図鐔) ‒ Tsuba with stylized comma and bay inlet openwork and a flower and arabesque décor Unsigned: Kagami-shi (鏡師) Round shape, yamagane, hammer blow finish, cast, negative openwork design, round rim. According to the result of the shinsa committee of our society, we judge this work as authentic and rank it as Hozon Tōsōgu. July 1, 2011 [Foundation] Nihon Bijutsu Tōken Hozon Kyōkai, NBTHK (日本美術刀劍保存協會)  
  • Yamagane (bronze) tsuba (kagamishi, or mirror-maker) with the design of tomoe (comma) and suhama in openwork. Surface treated with hammer marks and chiselled with the design of maple leaves and encircled two bars (maru-ni-futatsu-biki, Ashikaga clan family crest, or mon) on both sides. Raised rim or rim cover (fukurin). Custom kiri-wood box.

    Size: 87.4 x 86.2 x 2.9 (center), 4.9 (rim) mm; weight: 120 g.  
  • Small iron tsuba (tantō size) of aoi form with the design of paulownia leaves and blossoms in copper and brass flat inlay (hira-zōgan). Brass sekigane. Open kozuka hitsu-ana.

    Early Edo period, 17th century.

    Size: 53.4 x 40.7 x 4.4 mm; weight: 47.4 g

  • Iron tsuba of diamond form with rounded corners with the design of a double gourd on a branch in openwork. Dark brown patina. Ko-Shōami school. Custom kiri-wood box with hakogaki of Sasano Masayuki.

    Momoyama Period (1574-1603)

    Size: 77.1 x 75.7 x 4.6 mm; weight: 75.3 g.

    Provenance: Sasano Masayuki
    Hakogaki lid outside: 古正阿弥鐔 Ko-Shōami tsuba Hakogaki lid inside:
    瓢簞透
     無銘 桃山期作
     鉄地透
    
    古撲惻之佳作
    平成二年 素心鑑
    水無月
    
    Hyōtan-sukashi Mumei, Momoyama-ki saku Tetsu, ji-sukashi Koboku-aware no kasaku Heisei ninen Soshinkan Minazuki Openwork design of gourd Unsigned, Momoyama era work Iron, large openwork Masterwork full of classical charm. June of 1990, Soshinkan [pen name of Sasano Masayuki]
    [Translated by Markus Sesko]
  • Iron tsuba of six-lobed (mutsu-mokkō-gata) form, with six wild boar's eye shape (inome) openings (sukashi). Ryo-Hitsu and the entire perimeter of tsuba have typical for this school raised rim; raised seppa dai. Lobes are decorated in low relief carving (sukidashi-bori). On the obverse: chrysanthemum, Genji mon, waves and rocks, grasses and star, bellflower, star and flower in tortoiseshell (kikko). On the reverse: Stars and different flowers, and flying geese.  The plate is damaged to the left of nakago-ana and around the left hitsu-ana. Kamakura-bori school. Late Muromachi period (1514-1573). Diameter: 89 mm; Thickness at seppa-dai: 4.0 mm; Weight: 108.8 g [large]. There is a similar tsuba in this collection, TSU-0345.2018, but with a different motif and much smaller: diameter 74.3 mm, thickness at seppa-dai: 3.2 mm, weight: 62.8 g.

    Varshavsky Collection: TSU-0345.2018

      Another look-a-like tsuba can be found at the Compton Collection, part II, pp. 14-15, №17, though his tsuba is more massive (80 x 84 x 4 mm).

    Compton Collection, part II, pp. 14-15, №17: Kamakura-bori tsuba, ca. 1450.

    This tsuba, TSU-0401.2019, is the biggest of all three (another mine and the one from Campton Collection). The presence of a flower in a tortoiseshell symbol (crest or mon) on this tsuba alludes to Izumo Shrine. The overall piece, with symbols of grasses, waves, flowers, incense, stars, and flying geese, is full of autumnal connotations.  
  • 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. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: May of the Year of Dragon [辰五] (Tatsu-go) (5/1856) (Not in Marks). Uncut fan print (uchiwa-e) depicting Onoe Kikugorō IV as Karukaya Dōshin parting from his son, Ishidomaru (played by Ichimura Uzaemon XIII), and Kawarasaki Gonjūrō I as Yamazakiya Yogoro in the kabuki play Karukaya Dōshin Tsukushi no Iezuto [苅萱桑門筑紫𨏍], written by Namiki Sōsuke [並木宗輔] (Japanese, 1695 – 1751) and performed at Ichimuraza [市村座] in 05/1856. Media: Fan print [団扇絵] (Uchiwa-e); size: 235 x 305 mm. Actors: Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names:  Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō. Onoe Kikugorō V [五代目尾上菊五郎] (Japanese, 1844 – 1903 other names: Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII [十三代目市村羽左衛門], Ichimura Kurōemon. Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III. Plot: It was a popular belief at one time that jealous women had their hair transformed into writhing serpents and Kato Sayemon Shige-Uji, a daimyo of Tsukushi, a much-married man, suffered from the delusion that his wife was so affected. He fled to the mountains to escape her and led the life of a hermit under the name of Karukaya Doshin [苅萓道心]. One day, on Mount Kōya (高野山, Kōyasan) Karukaya meets a young man who was wandering in the mountains. Being questioned, the youth tells his name, Ishidomaru, and elicits the information that he is seeking his lost father. Karukaya then recognizes the boy as his own son, but firm in the resolve to remain lost to the world, he refrains from disclosing himself, and bids the youth return home. Provenance: Paul F. Walter (American, 1935 – 2017). Ref.:
    1. [LIB-2110.2019] Samuel L. Leiter. Historical Dictionary of Japanese Traditional Theatre (Historical Dictionaries of Literature and the Arts). / 2nd edition. – Lanham: Rowman & Littlefield, 2014; pp. 379-380.
    2. [LIB-2206.2019] Basil Stewart. Subjects portrayed in Japanese colour-prints. — London: Kegan Paul, Trench, Trubner & Co. Ltd., 1922.
     
  • Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865).

    Uncut fan print (uchiwa-e), 295 x 230 mm, depicting kabuki actor Bandō Shūka I as Shirai Gonpachi (白井権八) reading a scroll by the light of a lantern. From the series A Parody of the Five Chivalrous Commoners; a Cup of Sake From Their Fans (Mitate gonin otoko, go-hiiki no omoizashi).  According to Paul Griffith, the term omoizashi refers to the act of pouring a cup of sake for one's chosen partner, here giving an impression of intimacy and affection between famous actors and their patrons.

    Actor: Bandō Shūka I [初代坂東しうか] (Japanese, 1813-1855); other names: Bandō Tamasaburō I, Bandō Mitsugorō V (posthumously). The print was probably published by some unknown Yama-Ta (Marks U421b). Double nanushi censor seals and date seal: Muramatsu and Fuku, Kaei 5, 2nd month (2/1852). As Kabuki Encyclopedia put it: "Gonpachi. A parasite. From the character named Shirai Gonpachi who lives at the home of Banzui Chōbei and sponges off him" (An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979, pp. 26, 98-9). There were many kabuki plays based on the story of the lovers Miura-ya Komurasaki and Shirai Gonpachi. (See: [LIB-2226.2019] Algernon Bertram Freeman-Mitford. Tales of Old Japan. — London: Macmillan and Co., 1883). Ref.: Art shop Ezoshi Ukiyoe new collection news, vol. 66, 2023.1 (Jan) # 31, p.8.  
  • Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865)

    Promotional fan for a hairpin shop, with a poem by Ichikawa Danjuro VII, signed Hakuen.

    Date seal plus rectangular kiwame seal: Bunsei 8 (1825).

    Size: Fan print. Uchiwa-e (27.5 x 21.1 cm) Publisher seal: Maru-To (2) (Marks U204). Date seal plus rectangular kiwame seal: Bunsei 8 (1825).
  • Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Publisher: British Museum provides for the title as Enkyoku-zoroi [艶曲揃] (Set of Voluptuous Melodies) and the publisher as Sanpei. Indeed, 三平 (Sanpei) was a wholesale fan shop at the end of the Edo period. However, Andreas Marks identifies the publisher's seal as 三平 Mihei = Mikawaya Heiroku (1848-56), a member of the Fan Producing Guild (AM 11-016|325a). Block carver: Yokokawa Takejirō, seal: Carver Taki [彫竹] (Hori Take)

    Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia (kiri mon).

    Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month).

    Size: Uchiwa-e (untrimmed fan print) 296 x 230 mm.

    SVJP-0303.2019

  • Title: ACADEMIE | DES | SCIENCES | ET DES | ARTS, | Contenant les Vies & les Eloges Historiques des | Hommes Illustres, | Qui ont excellé en ces Professions depuis environ quatre Siécles | parmy diverses Nations de l’Europe : |Avec leurs Pourtraits tirez sur des Originaux au Naturel, & plusieurs Inscriptions | funebres, exactement recueïlies de leurs Tombeaux | Par Isaac Bullart , Chevalier de l’Ordre de Saint Michel. | TOME PREMIER | {allegorical vignette, signed Abr. A Diepenbeke delineavit – Pet. Clouwet sculp.} | Imprimé par les soins de l’Autheur. | A AMSTERDAM, | Se vendent chez les Heritiers de Daniel Elzevier, 1682. || Pagination : [2] – h.t. / blank ; [2] – 1st vol. t.p. in black and red with vignette engraved by Pet. Clouwet after Abr. Diepenbeke / blank; [7] – dedication to Jacques Theodore de Brias {Jacques-Théodore de Bryas (Dutch, 1630 – 1694)}, [9] – preface, [2] – table demonstrative / stanza by Guilielmus Riverius, [2] vinette “Tardius sed grandius” with an elephant in ornamental frame / text; [2] – Advis au lecteur; [1, 2] – f.t. livre premiere, illustres politiques / blank; [2] – noms politiques / blank (A1, after f.t.), 3(A2)-421, [422-424] – table eloges. Collation: [*]6, **8, A6 B-Ggg4. (14 prelim. leaves, as in LIB-2675.2021; the LIB-2676.2021 copy has 12) Binding: 34.5 x 22 x 4.3 cm.34.5 x 22 x 4.3 cm, hardbound; full calf, raised bands. The title is drawn by Abraham van Diepenbeeck (Dutch, 1596 - 1675) and engraved by Peeter Clouwet (Flemish, 1629–1670). The first volume of a two-volume set contains 119 copperplate burin-engraved portraits of selected politicians, historians, jurists, writers, and Italian artists.  26 portraits engraved by Esme de Boulonois (French,1645 – 1681), 3 unsigned, and the rest engraved by Nicolas de Larmessin I (French, 1632 – 1694)Lavinia Vecellio, (Italian, 1530 – 1575), Titian' daughter, engraved by Lamerssin after Titian, Portrait of Jacques Auguste de Thou engraved by de Boulonois after Daniel Dumonstier. Politicians: Antoine Perrenot, Cardinal de Granvelle; Arnaud d'Ossat, Cardinal; Auger Busbeque; Bessarion, Cardinal; François Ximenes, Cardinal; George d'Amboise, Cardinal; Gille Albornoz, Cardinal; Guillaume de Croy; Guy du Faur de Pybrac; Jacques Auguste de Thou; Jean de Selve; Jean Zamoski; Jean de Barnevelt; Jean Armand du Plessis, Cardinal de Richelieu; Jule Mazarin, Cardinal; Michel de l'Hospital; Renaud Pole, Cardinal; Stanislas Hosius, Cardinal; Thomas Morus; Thomas Wolsey, Cardinal. Historians: Bertrand d'Argentré; Cæsar Baronius, Cardinal; Emanuel de Meteren; Enguerand de Monstrelet; Florimond de Remond; François Guicciardin; Fulve Ursin; Guillaume Camden; Henry Catherine d'Avila; Hubert Goltzius; Jacques Amiot; Jean Aventin; Jean Baptiste Platina; Jean Barclay; Jean Froissard; Jean Papirius Masson; Nicolas le Febure; Olivier de la Marche; Onuphre Panuinius; Pandolphe Collenuce; Paul Jove; Philippe de Commines; Pontus Heuterus; Regino Abbé de Prumy; Robert Gaguin; Wolfgang Lazius. Jurists: Alexandre de Tartagnis; André Alciat; André Tiraqueau; Antoine Augustin; Antoine le Febvre; Boece Epo; Charles du Moulin; François Bauduin; Gabriel Mudée; Jacques Cuias; Jason Mainus; Jean Wamese; Mathieu Wesenbec; Philippe Dece; Pierre Peckius; Pierre Pithou; Tibere Decian; Viglius de Zuichem. Writers/Linguists: Ange Politian; Demetrius Chalcondyles; Emanuel Chrysoloras; François PhilelpheFrançois Raphelenge; Guillaume Postel; Jean Argyropilus; Jean Bocace; Jean Lascaris; Jean Passerat; Jean Pierius Valerianus; Jeanne Gray; Nicolas Clenard; Pierre Nannius; Rudolphe Agricola; Theodore Gaza. Italian painters, architects, and sculptors: André Mantegna; André Organa; André del Sarto; André Tafi; André Verrochio; Antoine de Correge; Antoine de Messine; Arnoud di Lappo; Baccio Bandinel; Balthazar Perusi; Bramante d'Urbin; Daniel Ricciarelli; Dominique Beccafumi; Donato; François MazzuoliFrançois Primatici; Frere Philippe Lippi; Giorgion; Giotto; Jacques Barozzi de Vignole; Jean Antoine Licinio de Pordenone; Jean Cimabue; Jean d'Udine; Jean François Rustici; Jule Romain; Le Rosso; Leonard de Vinci; Masaccio; Michel-Ange Buonarotti; Perin del Vaga; Philippe Bruneleschi; Philippe Lippi; Polidore de Caravage; Propertia de Rossi; Raphael Sanzio d'Urbin; Sandro Boticelli; Simon Memmi; Taddée Gaddi; Titian Uccello.  
  • 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. Double nanushi censor seal: Kunigasa & Watanabe (1849-50). Actor: Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V [市川海老蔵], Ichikawa Hakuen II, Ichikawa Shinnosuke I. 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). Sano Jirōzaemon [佐野次郎左衛門] – provincial commoner who killed a famous Yoshiwara courtesan named ManjiyaYatsuhashi [万字屋 八ツ橋] (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 at the two upper images in Waseda University Cultural Resources Database, № 006-2707:  
  • Half-title: BARON MUNCHAUSEN Title: THE TRAVELS | AND | SURPRISING ADVENTURES | OF | BARON MUNCHAUSEN. | ILLUSTRATED WITH | THIRTY-SEVEN CURIOUS ENGRAVINGS, | FROM | THE BARON'S OWN DESIGNS, | AND FIVE WOODCUTS, | BY G. CRUIKSHANK. | [device] | LONDON : WILLIAM TEGG. | 1869.|| [RASPE, Rudolf Erich]. The Travels and Surprising Adventures of Baron Munchausen. / Illustrated with 37 curious engravings, from the Baron's own designs, and five woodcuts, by G. Cruikshank. — London: William Tegg, 1869. Pagination: xii + [10] + 268 pp, 23 plates: hand-coloured engraved frontispiece, 5 woodcuts by Cruikshank, other b/w etchings, two folding plates. Binding: 19 x 13 cm; hardbound, 8vo, early 20th century 3/4 dark plum morocco gilt-ruled, raised bands, title label, gilt lettering, gilt in compartments, top edge gilt. Catalogue raisonné: A. Cohn: #584, p. 172. This edition is an identical re-issue of the 1867 edition.
  • Title: ПОДРОБНЫЙ СЛОВАРЬ | РУССКИХЪ ГРАВЕРОВЪ | XVI-XIX ВВ. | СОСТАВИЛЪ Д. А. РОВИНСКIЙ. | (ПОСМЕРТНОЕ ИЗДАНIЕ). | СО МНОГИМИ ЦИНКОГРАФIЯМИ ВЪ ТЕКСТѢ. | САНКТПЕТЕРБУРГЪ, 1895. | ПРОДАЕТСЯ У КОМИССIОНЕРОВЪ ИМПЕРАТОРСКОЙ АКАДЕМИИ НАУКЪ: | И. И. Глазунова, М. Эггерса и Комп. и К. Л. Риккера въ С.-Петербургѣ‎, Н. П. Карбасникова въ | С.-Петербургѣ‎, Москвѣ и Варшавѣ, | Н. Киммеля въ Ригѣ. Фоссъ (Г. Гэссель) въ Лейпцигѣ. | Цена 4 руб. Pagination: [2] t.p./colophon, [2] dedication/blank, [2] f.t. ИСТОРИЧЕСКIЙ ОБЗОРЪ | ГРАВИРОВАНIЯ / blank; 1-344 (numbered half-pages, 86 leaves); [2] f.t. СЛОВАРЬ ГРАВЕРОВЪ. / blank, 1-806 [808 blank] (numbered half-pages, 202 leaves) Collation: 8vo; π3 1-258 262. Книга состоит из двух разделов с раздельной пагинацией. Первая часть "Исторический обзор гравирования", вторая – собственно "Словарь граверов". В обеих частях пронумерованы половины страниц.  
  • УКАЗАТЕЛЬ | ИМЕНЪ И ПРЕДМЕТОВЪ | УПОМЯНУТЫХЪ ВЪ | ПОДРОБНОМЪ СЛОВАРЕѢ РУССКИХЪ ГРАВЕРОВЪ  Д. А. РОВИНСКАГО. | СОСТАВИЛЪ | ЕВГ. НИК. ТЕВЯШОВЪ. | (Доложено въ заседанiи Историко-филологическаго отделенiя 13 января 1899 г.) |  САНКТЪ-ПЕТЕРБУРГЪ, 1899. | ПРОДАЕТСЯ У КОМИССIОНЕРОВЪ ИМПЕРАТОРСКОЙ АКАДЕМИИ НАУКЪ: | И. И. Глазунова, М. Эггерса и Комп., К. Л. Риккера въ Санктъ-Петербургѣ‎; Н. П. Карбасникова въ Санктъ-Пе- | тербургѣ‎, Москвѣ и Варшавѣ; | М. В. Клюкина въ Москве; Н. Киммеля въ Ригѣ; Н. Я. Оглоблина въ Санктъ- | Петербургѣ и Кiевѣ; у Фоссъ (Г. Гэссель) въ Лейпцигѣ, а также въ Книжномъ складѣ Императорской | академiи наукъ. | Цена: 1 р. 20 к. = 3 Mark. Pagination: original wrapper bound in, [2] t.p. / colophon, [1, 2] 3-208 (numbered half-pages, 52 leaves). Collation: 4to; 1-134. Binding: Owner's later 3/4 grey cloth over buckram boards. original front wrapper preserved, upper-right corner cut out.
  • Title: О. Б. ЛЕПЕШИНСКАЯ, | действительный член Академии медицинских наук, | лауреат Сталинской премии. | Происхождение клеток | из живого вещества | [blank] | ИЗДАТЕЛЬСТВО ЦК ВЛКСМ | "МОЛОДАЯ ГВАРДИЯ" | 1951 || Pagination: original pictorial wrappers with portrait in frame, [1-2] – t.p. / imprint., 3-37 [38] [2] – blank / colophon.
  • Of the limited edition of 1150 copies, this is №54 (on Japan paper, signed by Bartsch and by von Bayros). Owner's binding imitating quarter-morocco, a red label with gilt lettering to spine (possibly by Ms Hunt, who was an amateur bookbinder). Bookplate on front pastedown: "Ex libris Rachel McMasters Miller Hunt | S. B. Hill Dec 1913 | A.J. Downey Sc." Alfred James Downey (1882-1944). Rachel McMasters Miller Hunt (1882-1963). Sarah B. Hill had done lettering for Ms Hunt. On back pastedown: Stamp "Hunt Libraries CMU" and sticker "Gotham Book Mart | 128 West 45th street | New York". This is from an edition of Carcassonne:
  • Hardcover, publisher's white cloth with a black imprint to cover, red and black lettering to spine, pictorial DJ, pp.: [1-4] 5-398 [2]. Послесловие В. Столбова, художник В. Юрлов. Russian translation of Cien años de soledad by Gabriel García Márquez
  • Title (black lettering, red elements): ЛЕГЕНДА | О ДОКТОРЕ | ФАУСТЕ | {element} | ИЗДАНИЕ ПОДГОТОВИЛ | В. М. ЖИРМУНСКИЙ | ВТОРОЕ, ИСПРАВЛЕННОЕ ИЗДАНИЕ | ИЗДАТЕЛЬСТВО «НАУКА» | МОСКВА 1978 || Pagination:[1-5] 6-421 [3]; +3 leaves of plates. Collation: 8vo; [1]8 2-278. Binding: 22 x 17.5 cm, serial green buckram blind-stamped with a scroll adorned with gold lettering to board and spine. Contents:
    1. Исторические и легендарные свидетельства о докторе Фаусте / Пер. С. А. Акулянц.
    2. Народная книга: История о докторе Иоганне Фаусте, знаменитом чародее и чернокнижнике / Пер. Р. В. Френкель.
    3. Свидетельства о постановке народной драмы и кукольной комедии / Пер. С. А. Акулянц
    4. Кукольные комедии / Пер. H. A. Сигал: (1) Доктор Иоганн Фауст; (2) Доктор Фауст, или Великий Негромант; (3) Иоганнес Фауст.
    5. Кристофер Марло. Трагическая история доктора Фауста / Пер. H. H. Амосовой.
    6. «Фауст» Лессинга / Пер. В. Е. Гаккель-Аренс.
    7. Комментарии: В. М. Жирмунский. История легенды о Фаусте.
    8. Примечания / Сост. В. М. Жирмунский; к «Фаусту» Марло — H. H. Амосова.
  • Detailed Bibliographical Description:  ( Title: Principles of | Bibliographical Description | Fredson Bowers (in a frame) | PRINCETON, NEW JERSEY | PRINCETON UNIVERSITY PRESS | 1949. Pagination: [i-vii] viii-xvii [xviii] [1-3] 4-505 [506], 2 leaves of plates. Exterior: 24 x 16.5 cm, purple-grey cloth, brown label with gilt lettering to spine, DJ. Fredson Thayer Bowers (American, 1905 – 1991).
  • Title: Joseph Burke and Colin Caldwell | Hogarth | The Complete Engravings | Harry N. Abrams, Inc., Publishers, New York || Pagination: [1-4] 5-30 (text), unpaginated: 128 leaves of illustrations (267 plates), 16 leaves of descriptions, folding list of plates: total number of leaves 160, incl. one folding. Exterior: 34 x 24.5 cm, hardbound; original brown cloth, silver lettering to spine, pictorial DJ. Harry N. Abrams (British-American, 1905 – 1979). Joseph Terence Burke (British, 1913 – 1992). Colin Caldwell (British, 1913 – 1989).
  • Title: ZICHI | A bevezető tanulmányt írta | és a képeket válogatta | GELLÉR KATALIN | Introduced and selected by | KATALIN GELLÉR | CORVINA || Pagination: [1-4] 5-44 + 34 leaves of illustrations, (66 plates). Exterior: 32.5 x 28 cm, hardcover, original dark green cloth with silver lettering to spine, pictorial DJ. Text in Hungarian and English. Artist: Mihály Zichy [Michael von Zichy] (Hungarian, 1827 – 1906).
  • Title: The amorous drawings | of the | Marquis von Bayros | Part I | THE CYTHERA PRESS | NEW YORK Pagination: [1-3] 4-238 [2], 292 illustrations within pagination. Content: Preface by Wilhelm M. Busch, biography of Von Bayros by Johann Pilz, two essays by Von Bayros; 292 illustrations by Marquis Franz von Bayros; Part I and II in one volume. Exterior: 33 x 26 cm, publisher's black cloth with white lettering and fac-simile drawing of von Bayros to cover, white lettering to spine, similarly designed DJ. The original Cythera Press hardcover edition of 1968.
  • Title: The amorous drawings | {vignette} | of the | Marquis von Bayros | Part I | BRANDON HOUSE | NORTH HOLLYWOOD || Title page verso: A BRANDON HOUSE BOOK | PUBLISHED BY ARRANGEMENT WITH | CYTHERA PRESS | COPYRIGHT 1968 BY CYTHERA PRESS | ALL RIGHTS RESERVED. | MANUFACTURED IN THE UNITED STATES OF AMERICA || Pagination: [1-3] 4-238 [2], 292 illustrations within pagination. Content: Preface by Wilhelm M. Busch, biography of Von Bayros by Johann Pilz, two essays by Von Bayros; 292 illustrations by Marquis Franz von Bayros; Part I and II in one volume. Exterior: 28 x 22 cm, publisher's green wrappers with yellow lettering and fac-simile drawing of von Bayros to cover, lettering to spine. A re-print softcover edition of the original Cythera Press 1st edition, see: LIB-2246.2019
  • Vol. 1. PART I. | THE ANTICHRISTIAN CONSPIRACY. || Title page: MEMOIRS, | Illustrating the | HISTORY of JACOBINISM, | Written in French by | THE ABBÉ BARRUEL, | And translated into English by | THE HON. ROBERT CLIFFORD, F. R. S. & A. S. | — | Princes and Nations shall disappear from the face of the Earth… and this | REVOLUTION shall be the WORK OF SECRET SOCIETIES. | Weishaupt’s Discourse for the Mysteries. | — | PART I. | THE ANTICHRISTIAN CONSPIRACY. | Second Edition, revised and corrected. | LONDON: | Printed for the Translator, | By T. Burton, No. 11 Gate-street, Lincoln’s-Inn Fields. | Sold by E. Booker, No. 56, New Bond-street. | 1798. || Pagination: [2] – t.p. / imprint, [2] – contents / contents, [i] ii-xvi, [1] 2-401 [402 blank]. Collation : 2 blank leaves, π2 b8, B-Z8 Aa-Bb8 Cc9, 2 blank leaves. Vol. 2: Same as Vol. 1, but: PART II. THE ANTIMONARCHICAL CONSPIRACY. || Pagination: [2] – t.p. / imprint, [2] – contents / contents, [1] 2-479 [480 blank]. Collation: 2 blank leaves, π2 B-Z8 Aa-Gg8 Hh3, 2 blank leaves. Vol. 3.: Same as Vol. 1, but: PART III. THE ANTISOCIAL CONSPIRACY. || Pagination: [i,ii] – t.p. / imprint, [iii] iv-xviii, [1] 2-414; one plate. Collation : 2 blank leaves, π1 A-Z8 Aa-Cc8 D7. Vol. 4: PART IV. ANTISOCIAL CONSPIRACY; HISTORICAL PART. || Pagination: [i,ii] – t.p. / imprint, iii-xviii, [1] 2-601 [602 blank], [1] 2-50; one folding plate. Collation: 2 blank leaves, a8 B-Z8 Aa-Pp8 Qq5, a-c8 d1. Binding: All four volumes uniformly bound in full polished calf, gilt roll-and-rule border, black and green labels with gilt lettering, gilt filigree to spine; marbled endpapers and all edges; printed on wove paper, with long “s”. The original French title: Mémoires pour servir à l'​histoire du Jacobinisme par M. l'abbé Barruel. Author: Augustin Barruel (French, 1741 – 1820). Translator: The Honourable Robert Edward Clifford (British, 1767 – 1817). LIB-2195-1.2019; LIB-2195-2.2019; LIB-2195-3.2019; LIB-2195-4.2019.
  • 26 x 18 cm, black cloth, white lettering to cover and spine, pictorial DJ, pp. [1-4] 5-207 [208 colophon], 233 b/w illustrations; essay by Wilhelm M. Busch.
  • A two-volume edition. 1st vol. Title (in black and red): МИШЕЛЬ | МОНТЕНЬ | ОПЫТЫ | КНИГА ПЕРВАЯ | ИЗДАНИЕ ТРЕТЬЕ | ПЕРЕВОД А.С.БОБОВИЧА | СТАТЬЯ Ф.А.КОГАН-БЕРНШТЕЙН | КОММЕНТАРИИ А.С.БОБОВИЧА | И Ф.А.КОГАН-БЕРНШТЕЙН | ИЗДАТЕЛЬСТВО АКАДЕМИИ НАУК СССР | МОСКВА – ЛЕНИНГРАД | 1960 || Opposite title: MICHEL |de | MONTAIGNE | LES ESSAIS | LIVRE PREMIER || Pagination: [1-11] 12-526 [2], errata slip. Collation: 8vo, [1]-338, 5 plates extraneous to collation (incl. frontispiece portrait). 2nd vol. Title (2) (in black and red): МИШЕЛЬ | МОНТЕНЬ | ОПЫТЫ | КНИГА ВТОРАЯ | ИЗДАНИЕ ВТОРОЕ | ИЗДАНИЕ ПОДГОТОВИЛИ | Ф.А.КОГАН-БЕРНШТЕЙН, | А.С.БОБОВИЧ И А.А.СМИРНОВ | ИЗДАТЕЛЬСТВО АКАДЕМИИ НАУК СССР | МОСКВА – ЛЕНИНГРАД | 1960 || Opposite title: MICHEL |de | MONTAIGNE | LES ESSAIS | LIVRE SECOND || Pagination: [1-7] 8-652, errata slip. Collation: 8vo, [1]-428. Binding: Uniformly bound in serial design green cloth with gilt lettering on an embossed scroll to front cover, gilt lettering to spine. 22 x 18 cm. Print run: 10,000 copies each volume. Michel Eyquem de Montaigne (French, 1533 – 1592) Ананий [Анатолий] Самуилович Бобович (Russian-Jewish, 1904 – 1988) Александр Александрович Смирнов (Russian, 1883– 1962) Фаина Абрамовна Коган-Бернштейн [b. Аронгауз] (Russian-Jewish, 1899 – 1976)
  • Half-titleÜBERREICHT VON | GILHOFER UND RANSCHBURG | SORTIMENT–, BÜCHER– UND KUNST– | ANTIQUARIAT | WIEN 1, BOGNERGASSE 2 || Title: Red letterpress lettering in black ornamental frame: Insel- | Almanach | auf das Jahr | 1907 || Pagination: [6] – h.t., frontis., title; [1-16] 17-150 [2], + 2 folding plates (op. p. 30 and 32), and 2 plates op. p. 50 (Franz von Bayros "Francine" for Die Bohème by Henri Murger) and 112 (colour). Binding: 17.3 x 9.9 cm;  original olive paper wrappers with gilt lettering and elements to cover, lettering to spine. Catalogue raisonné: Heinz Sarkowski (1999): № 1986, pp. 329-30, with contents. Contributors: Gilhofer und Ranschburg – antiquarian bookstore in Vienna. Schröder, Rudolf Alexander (German, 1878 – 1962) – title and cover. Wieynk, Heinrich (German, 1874 – 1931) – typeset. Kippenberg, Anton Hermann Friedrich (German, 1874 – 1950) – editor. Brandstetter, Oscar (German, 1844 – ?) – printer.
  • Frontispiece: ИНОСТРАННЫЕ МЕМУАРЫ Под общей редакцией | И. Т. Смилги | ОММЕР ДЕ ГЕЛЛЬ | «Academia» | Москва—Ленинград || Title page: ОММЕР ДЕ ГЕЛЛЬ | ПИСЬМА и ЗАПИСКИ | Редакция, вступительная статья и примечания| М. М. Чистяковой | ACADEMIA | 1933 || Title verso: Супер-обложка и переплет | по рисункам Н. П. Дмитревского || Pagination: [1-6] 7-464 [8], ill. Collation: 8vo; [1]-298, 304 + 8 plates (photomechanical), one of them folded. Binding: 17.5 x 13.5 cm, original purple cloth, white lettering to spine, vignette to front board, pictorial DJ. Print run: 5300 copies. Catalogue raisonné: Крылов-Кичатова (2004): № 564, p.236. Вяземский, Павел Петрович (Russian, 1820 – 1888) – author. A famous literary forgery and mystification in the history of Russian literature. The fictitious author – Оммер де Гелль – was an existing human being: Adèle Hommaire de Hell, née Hériot (French, 1819 — 1883), a French writier. The fictitious matter of the book was not proven before 1935. The details can be found here.
  • Title: John Carter's | ABC | for book collectors | Ninth Edition | Nicolas Barker & Simran Thadani | {publisher’s device} | Oak Knoll Press | New Castle, Delaware | 2016 | [TITLE-PAGE] || Pagination: [1-6] 7-263 [264]. Binding: 21 x 13.5 cm; black cloth, silver lettering to spine, pictorial dust jacket. Carter, John (British, 1905 – 1975)  – author. Barker, Nicolas (British, b. 1932) – author Thadani, Simran – author
  • Title page: ЛОНГ | ДАФНИС И ХЛОЯ | Вступительная статья, | перевод и комментарии | С. П. Кондратьева | ACADEMIA | 1935 || Opposite title: АНТИЧНАЯ ЛИТЕРАТУРА | под общей редакцией | Д. А. Горбова, В. О. Нилендера | и П. Ф. Преображенского | ЛОНГ | (III—IV век н. э.) | ACADEMIA | Москва—Ленинград || Title verso: ΛΌΓΓΟΥ | Ποιμενικών των κατά Δάφνιν και Χλόην | Λόγοι τέτταρες | LONGI | Pastoralium de Daphnide et Chloë | libri quattuor | Рисунки, заставки, концовки, переплет и супер-обложка В. Г. Бехтеева || Pagination: [i-vi] vii-xx [2], [1, 2] 3-196 [2], 220 pages total, plus frontispiece in colour extra to collation; and 13 b/w plates within collation, headpieces after Бехтеев, Владимир Георгиевич (Russian, 1878 – 1971). Collation: i8 ii3, 1-128 133 = 110 leaves plus 1 plate. Binding: 17.5 x 13 cm, grey cloth, vignette to front board, lettering to spine, pictorial dust-jacket. Print run: 5,300 copies. Catalogue raisonné: В. В. Крылов, Е. В. Кичатова (2004): № 744, p. 265. Contributors: Longus [Лонг, Λόγγος] (Greek, 2nd century AD) – author. Кондратьев, Сергей Петрович (Russian, 1872 – 1964) – translator. Бехтеев, Владимир Георгиевич (Russian, 1878 – 1971) – artist. 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).    
  • Front wrapper and title-page (in red and black): LE COFFRET DU BIBLIOPHILE ILLUSTRE | Pamphlets et Tableaux de mœurs intimes | CORRESPONDANCE | DE | Madame Gourdan | dite La Comtesse | INTRODUCTION ET NOTES PAR J. HERVEZ. | POINTES SÈCHES DE | P.-E. BECAT | {device} | PARIS | BIBLIOTHÈQUE DES CURIEUX | 4, rue de Furstenberg, 4 | Édition réservée aux souscripteurs || Limitation: L'édition illustrée du "Coffret | du bibliophile" est tirée à 750 | exemplaires, sur vergé de Rives, | numérotés de 1 à 750 | № 353 || Limited edition of 750 copies on Rives laid paper, of which this is copy № 353. Collation: fep, 3 blanks, front wrapper, 3 blanks vergé, [2] h.t. / limit., [2] t.p., [5] 6-188, blank, back wrapper, 3 blanks, fep., plus 12 plates, dry-points by P.-É. Bécat, extraneous to collation, incl. frontispiece. Binding: 16 x 10.3 cm, red crushed morocco, gilt lettering to spine, marbled endpapers, printed on laid paper, original wrappers preserved. Contributors: Marguerite Gourdan [Marguerite Alexandrine Ernestine Stock] (French, c. 1730 –1783) – fictional author. Jean Hervez (French, 1864 – ?) – author (preface). Charles Théveneau de Morande (French, 1741 – 1805) – presumable author of the text. Paul-Émile Bécat (French, 1885 – 1960) – artist. Bibliothèque des curieux [Georges & Robert Briffaut], Georges Briffaut (French, 1886 – 1973) – publisher. Previous editions: First published 1783, under the title: "Le portefeuille de Madame Gourdan" in London by Jean Nourse. Bibliothèque des curieux, 1910. Bibliothèque des curieux, 1924.  
  • Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869), no publisher's seal on this print. Another title of this image provided by Sebastian Izzard is Acrobats becoming animals. The series Brother Pictures for Comparison [絵鏡台合かゝ身] (e-kyôdai awase kagami) can be found at Kuniyoshi Project: "This series consists of pairs of fan prints, with one print of each pair being a silhouette of the other. The series is not listed in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961)". The series is attributed to c. 1840. Signed: Ichiyosai Kuniyoshi ga. Size: Size: Uchiwa-e (untrimmed fan print) 227 x 299 mm.
  • Description: Softcover volume in publisher’s pictorial wrappers, with a b/w medallion portrait and lettering in a frame over geometrical pattern in blue to front; 23 x 16.3 cm, collated 8vo. Title-page: РУССКАЯ ЖЕНЩИНА | ВЪ | ГРАВЮРАХЪ И ЛИТОГРАФIЯХЪ | – | ВЫСТАВКА ПОРТРЕТОВЪ | – | КРУЖОКЪ ЛЮБИТЕЛЕЙ | РУССКИХЪ ИЗЯЩНЫХЪ ИЗДАНIЙ | 1911 || Collation: 1-48, last blank, total 32 leaves plus 15 plates (collotype reproductions) with tissue guards, incl. frontispiece, and a few headpieces; catalogue with 180 entries. Pagination: [1-6] 7-63 [64] [2], total 64 pages, ils. Incl. article "Русская женщина в искусстве" барона Н. Н. Врангеля. Барон Николай Николаевич Врангель (Russian, 1880 – 1915)
  • Description: Oblong volume, 22 x 27 cm, quarter cloth over marbled boards with gilt Zichy’s signature fac-simile and gilt lettering to spine in dust jacket lettered “The | Erotic | Drawings | of | Mihály | Zichy” on both front and back, blurbs on flaps, unclipped; printed on wove paper, unpaginated. Title-page: THE EROTIC DRAWINGS | OF | MIHÁLY ZICHY | Forty drawings | GROVE PRESS INC. | NEW YORK || Collation: (1) h.t., (1) t.p./copyright, (1) Preface; (40) leaves of plates, (1) blank; total 44 leaves. The plates are photomechanical offset copies made from the photogravures of 1911 Leipzig private press edition [SVE-0501.2021] of 300 copies, the copy used for reprint was № 277; photogravures were made from the original watercolours and crayon drawings produced by Zichy in 1874-1879; the original album of 51 compositions was sold at Christie’s sale of Gérard Nordmann collection on December 14-15, 2006 in Paris. Ref.: Bibliothèque érotique: Gérard Nordmann; Livres, manuscrits, dessins, photographies du XVIe au XXe siècle / Catalogues de ventes, seconde partie. — Paris: Christie's, 2006; p. 280, № 564 (drawings); №  565 photogravures [LIB-2810.2021]. See a copy of the Leipzig album № 285 in this collection [SVE-0501.2021].
  • Description: Oblong volume, 19.3 x 24.2 cm, hardcover in velvet with pasted image, in a pictorial slipcase; printed on glossy paper, unpaginated. Title-page (in frame): ERATO | GRAPHIKEN VON MIHÁLY ZICHY || Collation: (2) h.t., t.p., (30) leaves of plates (4) text by Éva Bros, bibliography, colophon; total 36 leaves. The plates are photomechanical offset copies made from the photogravures of 1911 Leipzig private press edition [SVE-0501.2021], which photogravures made from the original watercolours and crayon drawings produced by Zichy in 1874-1879; the original album of 51 compositions was sold at Christie’s sale of Gérard Nordmann collection on December 14-15, 2006 in Paris. See a copy of the Leipzig album № 285 in this collection [SVE-0501.2021].
  • Artist: Utagawa Kunisada, a.k.a. Toyokuni III (Japanese, 1786 – 1865) [歌川 国貞]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Date aratame seal: Bunsei 12 (1829). Signed: Gototei Kunisada ga [五渡亭国貞画]. Media: Fan print (uchiwa-e), 272 x 235 mm. Actor: Iwai Hanshirō VI (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Kumesaburō II, Iwai Hisajirō I, Baiga [梅我] (poetry name), Shūka (poetry name). The background is Arare-ko-mon [霰小紋] hail pattern. Kabuki actor Iwai Kumesaburō II in the role of An no Heibei [安の平兵衛] in the drama Otokodate Itsutsu Karigane [男作五雁金] (Play, 7 acts. Produced 1742/09). From Lyon collectionThe real An no Heibei (ca. 1672-1702): "In a gang with Kaitate no Kichiemon, Hote no Ichiemon, Mippiki Jihei and others as of the Seventh Month of 1697. Attacked people with a sword on the sixth day, Seventh Month, 1699, which he then secreted with Kichiemon. On the evening of the sixth day, Sixth Month, 1701, stabbed Kibei, an employee of Kawachiya Gohei of the residential quarter Kyuhoji, in the side with a dagger. A subsequent police investigation resulted in Heibei's arrest the following day. Beheaded at the execution grounds located at Sennichi Mae on the twenty-sixth day of the Eighth Month, 1702." Note: According to Horst Graebner, the actor's name below the series title in the cartouche is Baiga (梅我), the poetry name of Iwai Kumesaburō II. On the other prints in this series, the actors are also named on the other prints with their poetry names. In the red cartouche at the top left is the series title "Edo no hana – itsutsu Karigane" (江戸の花 五雁金), to be translated as "Flowers of Edo - the five Karigane blood-brothers" (or "the five Karigane gang members"). "Since there was no performance with the Karigane brothers from 1829, these must be mitate prints", states Mr Graebner.
  • Artist (character): Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist (landscape): Utagawa Kunihisa II [歌川国久] (Japanese, 1832 – 1981), a.k.a. Katsuda Hisatarō, Ichiunsai, Ritchōrō, Toyonobu, Yōryūsai, Yōsai. Block carver: Matsushima Masakichi (Japanese, fl. c. 1847-65); seal: [松嶋彫政] – Matsushima Hori Masa (Frieze, 2009: 142) Publisher: Iseya Magobei [伊勢屋孫兵衛] (Japanese, fl. c. 1794 – 1868). Signed: By the brush of Toyokuni at the age of 78 [七十八歳豊国筆] (Nanajūhachi-sai Toyokuni hitsu) – in a red toshidama cartouche (left). Signed: Landscape by Kunihisa [景色 国久画] (Keshiki Kunihisa ga) (right). Actor: Nakamura Shikan IV [中村芝翫] (Japanese, 1831 –  1899); other names: Nakamura Fukusuke I, Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I. Combined date seal and kiwame censor seal: [亥極] – Bunkyū 3 (1863) Tasogare (literally, twilight] [たそがれ] is a character in the novel Rustic Genji and a role in various kabuki plays. Fake Murasaki’s Rustic Genji [偐紫田舎源氏] (Nise Murasaki inaka Genji) is a literary parody written by  Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner, this must be a mitate print because there was no known performance of this play in 1863.
  • One volume 23.5 x 16 x 6 cm, with glossy pictorial boards lettered to front, back and spine; pp.: [i-viii] ix-xlviii 1-766, total 407 leaves, with b/w illustrations. Title-page: Historical Dictionary of | Japanese Traditional Theatre | Second Edition | Samuel L. Leiter | ROWMAN & LITTLEFIELD | Lanham • Boulder • New York • London || ISBN: 9781442239104. Author: Samuel L. Leiter (American, b. 1940)
  • 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: Mikawaya Heiroku [三川屋平六] (Japanese, fl. c. 1848 – 1856); seal: Mihei [三平] (Marks 11-016 | 325a) Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: [辰正] Ansei 3, 1st month (1856). Inscriptions: Right cartouche: Three good fortunes of the present day [当世三福対] (Tosei sambuku tsui) Center cartouche: Ubuge no Kintaro [産毛の金太郎] (うぶげのきんたろう)  According to Horst Graebner, the play is Tomigaoka koi no Yamabiraki (or Tomioka Koi no Yamabiraki [富岡戀山開], according to kabuki21.com, common title Ninin Shinbē [二人新兵衛]); Kintarō might be Nakamura Fukusuke I [中村福助], the female role might be Mikuni Kojorō [三国小女郎] (or Mikuni no Kojorō). Nakamura Shikan IV [中村芝翫] (Japanese, 1831 –  1899); other names: Nakamura Fukusuke I, Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I.
  • Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: Purple of Edo // Purple of the Bay Capital [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Iwai Kumesaburō III. 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. One of the series of Kunisada's fan prints in this collection: