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An annual publication of Kokusai Tosogu Kai / 16th International Convention & Exhibition in Hamburg, Germany: Museum Für Kunst Und Gewerbe / Museum of Arts and Crafts, September 11-12, 2020 and Berlin, Germany: Samurai Art Museum, September 13-14, 2020. Publisher: Tokyo: Kokusai Tosogu Kai, 2020. Pagination: [1-3] 4-103 [1]. Size: Medium 4to (30.3 x 21.6 cm), hardcover, original illustrated paper boards, in a slipcase. Tsuba from this collection depicted on the title page and pp. 59-60: TSU-0342.2017, TSU 0376.2018, and TSU 0379.2018. See also here. -
L'Imitation de Jésus-Christ / Traduite et paraphrasée en Vers François Par P. Corneille. — A Paris, Chez Pierre Rocolet, Imprimeur & Libraire ordinaire du Roy, au Palais, en la Gallerie des Prisonniers, aux Armes du Roy & de la Ville. M. DC. LVI. Avec Approbation des Docteurs, et Privelege de sa Majesté. Paris: Pierre Rocolet, 1656. Half-title: Les Quatre Livres de L'Imitation de Iesus-Christ. Traduites et paraphrasez en vers françois Par P. Corneille. — pp.: ff [2 pictorial ht, verso blank] [2 title, blank] [10 epistre] [2 av lecteur] [2 approbation, frontis.] 1-551 [552-60 table, privilege] bf. 8vo, 24.7 x 18.7 cm, hardcover; full speckled brown calf, gilt double-ruled boards, spine with raised bands, gilt double-ruled compartments with lozenges, sprayed margins; pages darkened. Purple ink stamp of Diocèse de Valencia to half-title. Nut ink ex libris handwriting on front paste-down. Plates: Half-title: unsigned copper engraving with the coat of arms of Pope Alexander VII (r. 1655 – 1667) which contains an oak tree in the top left and bottom right quarters (from Della Rovere family, Dukes of Urbino), the top right and bottom left quarters feature a mountain of six coupeaux in base with three stars above (from Chigi family). Four copper engravings inbound at the beginning of each book signed 'F. Chauueau in et fe.': Page 1: Jesus teaches His disciple. Page 113: Annunciation. Page 183: Jesus meets Simon called Peter and his brother Andrew. Page 459: Last Supper. François Chauveau (10 May 1613, Paris – 3 February 1676, Paris), a French painter and engraver. Thomas à Kempis (c. 1380 – 25 July 1471), a German-Dutch canon regular. Pierre Corneille (1606 – 1684), a French poet and playwright. Pierre Rocolet (1610 – 1662, active circa 1638 à 1662), a French publisher and printer. -
Engraving by J.J. Balechou after E. Jeaurat. A husband and wife ask a quack doctor for advice about health: he suggests substituting himself for the husband in the wife's affections, and she agrees: Épigrammes de Jean-Baptiste Rousseau (French, 1671–1741).
Date: 1743.
Size: 380 x 270 mm
Inscriptions under the image:
Top: Peint par E. Jeaurat | L'Operateur Barri | Grave par Balechou 1743
Middle: Sur leurs santés un Bourgeois et sa femme
Interrogeoient l'Operateur Barri, Lequel leur dit : Pour vous guérir, Madame, Baume plus sûr n'est que votre Mari, Puis se tournant vers l'époux amaigri, Pour vous, dit il, femme vous est mortelle, Las ! dit alors l'Epoux à sa femelle, Puis qu'autrement ne pouvons nous guérir, Que faire donc ? Je n'en sçai rien, dit elle,Mais, par Saint Jean, je ne veux point mourir.
Rousseau Epig. X
Center bottom: a Paris chez Lepicie Graveur du Roi au coin de l'Abreuvoir du Quay des Orfevres. Et Chez L. Surugue Aussi Graveur du Roi rue des Noyers vis a vis le mur de St. Yves Avec Privilege du Roi. -
![Le Comte de Arthur Grandeffe. Paris sous Napoléon III. Mémoires d'un homme du monde de 1857 à 1870 / Par Le Comte de Arthur Grandeffe. — Paris: Imp. et Lib. Centrales des Chemins de Fer, A. Chaix et Cie., 1870. — pp.: ff [2 ht, blank] [2 title, blank] [i] i-vi, 1-413 [1] bf.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2449.2020-a-1-500x500.jpeg)
Front wrapper: PARIS SOUS NAPOLÉON III | Mémoires d'un homme du monde | DE 1857 À 1870 | PAR LE COMTE DE ARTHUR GRANDEFFE | {publisher’s device} | PARIS: IMPRIMERIE ET LIBRAIRIE CENTRALES DES CHEMINS DE FER | A. CHAIX ET Cie | RUE BERGÈRE 20, PRÈS DU BOULEVARD MONTMARTRE | 1879 || Similar lettering to t.p. Softcover 18.5 x 12 cm, publisher’s original blue wrappers, first and last leaves glued to wrappers, unevenly trimmed, some uncut, pagination [4] [i] ii-vi, [1] 2-413 [414], authors advert to back wrapper; mispaginated pp. 136-141; collation: 18mo, π6, 1-2218 236. Sticker with gilt lettering to front wrapper “LIBRAIRIE CENTRALE | BERTRAND & QUEYROT | MENTON”; sticker to spine "577". -
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) -
Title: HISTORY | OF | SECRET SOCIETIES, | AND OF THE | REPUBLICAN PARTY OF FRANCE | From 1830 to 1848; | CONTAINING SKETCHES OF | LOUIS-PHILLIPE AND THE REVOLUTION OF FEBRUARY; | TOGETHER WITH | PORTRAITS, CONSPIRACIES, AND UNPUBLISHED FACTS. | BY | LUCIEN DE LA HODDE. | Translated from the Paris Edition of 1850. | BY AN AMERICAN. | PHILADELPHIA: | J. B. LIPPINCOTT AND CO. | 1856. || Pagination: blank leaf, [i, ii] – ht / blind, [iii, iv] – t.p. / imprim., [v-vi] – preface / blind, [vii] viii-xv [xvi] [17] 18-479 [480], blank leaf. Collation: 8vo; [1]-308. Binding: 22.8 x 15 cm, publisher's purple blind-spamped cloth to boards, gilt lettering to spine. Lucien de la Hodde (French, 1808 – 1865). Original title: Histoire des sociétés secrètes et du parti républicain de 1830 à 1848 : Louis-Phillippe et le Révolution de février, portraits, scènes de conspirations, faits inconnus. — Paris: Julien, Lanier, 1850. Translated by John Wolcott Phelps (American, 1813 – 1885). -
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A vessel of flattened ovoid form supported on a tall splayed foot and surmounted by a short neck with the galleried rim. The shoulders set with a pair of loop handles, the body moulded on both sides with a Phenix surrounded with meandering floral and foliate scrolls. Covered with irregular splashes of green, amber, cream, and blue glazes, dripping down the foot. Foot bottom unglazed (beige body). China, the Tang dynasty [唐朝] (618 – 907). Height: 18.5 cm; Width: 13 cm -
Title: BLANQUI | by | NEIL STEWART | [blank] | LONDON | VICTOR GOLLANCZ LTD | 1939 || Pagination: [1-7] 8-352. Binding: 20 x 13.5 cm; Red cardstock boards with black lettering, the front board: BLANQUI | by | NEIL STEWART | {BCL device} | LEFT BOOK CLUB EDITION | NOT FOR SALE TO THE PUBLIC ||; Spine with black lettering in the frame, sunned. -
Ogata Gekkō [尾形月耕] (Japanese, 1859 – 1920). An uchiwa-e (fan-print) of advertisement of tobacco of Kagoshima Prefecture, c. 1890 (Meiji Period). Barefoot Tengu* is sitting on a torii (entrance to a Shinto shrine), smoking a cigarette through a mouthpiece. _______ * Tengu [天狗] (heavenly dog) is a type of legendary creature found in Japanese folk religion and are also considered a type of Shinto god (kami) or yōkai (supernatural beings). -
Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30th 1989 -
Amoris Divini Emblemata, Studio Et Aere Othonis Vaeni Concinata. — Antverpiae: Ex Officina Plantiniana Balthasaris Moreti, MDCLX [1660]. — pp.: [1] (Van Veen port.), [1] title, [2] (Isabella port.), 3-127 [1], 60 illustr. — 2nd impression. Octavius Vaenius, a.k.a. Otto Vaenius or Otto Van Veen (c. 1556-1629) was Rubens's last and most influential teacher. The Amoris divini emblemata was first published in 1615 by Nutius & Meursius in Antwerp. Vaenius’s book was to influence Herman Hugo's Pia desideria (LIB-1657.2018). Book structure: On frontispiece, trimmed and mounted portrait of Octavius Vaenius painted by his daughter Gertruida van Veen (signed Gertrudis filia) and engraved by Nicolas de Larmessin. Trimmed portrait of the Infanta Isabella Clara of Austria (1566 – 1633) pained by Peter Paul Rubens and engraved by Jan de Leeuw mounted to title verso. 60 engraved plates with emblems are on recto pages with facing texts: Latin quotations from Bible and Fathers, Spanish verses by Alphonso de Ledesma, Dutch by Vaenius and French by Carolus Philippus Hattron (d. 1632). Rebound in the mid-19th century in brown quarter Morocco with blind marbled boards and gilt lettering to spine. Inscription in ink on verso to van Veen portrait: "I bought this volume with the portraits inserted at the sale of the library of my uncle Samuel Rogers, Esq." Signed: "Frederick Sharpe, 1856". Frederick Sharpe (born was a son of Samuel Sharpe (1799–1881), the nephew of Samuel Rogers (1763–1855), a celebrated English poet. Size: 23.3 x 17.9 cm. Ref.: Emblem Project Utrecht (with an explanation of all the emblems); PETER BOOTHUYGENS: Similar or Dissimilar Loves? -
Vol. 1 title: OVID'S | METAMORPHOSES | IN LATIN AND ENGLISH, | TRANSLATED BY | THE MOST EMINENT HANDS. | With HISTORICAL EXPLICATIONS | Of the FABLES, | WRITTEN IN FRENCH BY | The ABBOT BANIER, | MEMBER OF THE ACADEMY OF INSCRIPTIONS | AND BELLES LETTRES. | TRANSLATED INTO ENGLISH. | Adorned with Sculptures, by B. Picart, and other able Masters. | VOLUME THE FIRST. | [Device] | AMSTERDAM, | Printed for the WETSTEINS and SMITH. | MD CC XXII || — Pagination: [26 – Half-title, frontis., t.p., dedic., The Bookseller's Preface To This Edition, Mr. Banier's Preface To The French Translation, Contents], [1] 2-247 – Text of books 1-7, with illus., [1 blank]. Vol. 2 half-title: OVID'S | METAMORPHOSES | IN LATIN AND ENGLISH | TWO VOLUMES || — Pagination: [2 – half-title / blank], 249-524 – Text of books 8-15, with illus., incl. 3 leaves of pl., [4 – Index]. Three leaves between pages 264 and 271 are included in the pagination as pp. [265-70] but do not carry page-numbers or letterpress text. They each carry two prints on their rectos and are blank on the verso. Vol. II without the engraved title page. The names of the translators are given in the list of Contents as Dryden, Addison, Eusden, Arthur Mainwaring, Croxall, Tate, Stonestreet, Vernon, Gay, Pope, Stephen Harvey, Congreve, Ozel, Temple Stanyan, , Catcot, Rowe, Samuel Garth, Welsted. The frontispiece is signed as made by B. Picart. The six plates on pages [265, 267, 269] are all signed as painted by C. Le Brun and engraved by Iakob Folkema. Of the 124 illustrations, most are unsigned by a draughtsman, but some are signed as designed by G. Maas, one as designed by Jul. Romain, two as designed by G. Maas and drawn by J. de Wit, one as drawn by 'HA', one as painted by C. le Brun, one as made by B. Picart, one as designed by P. Testa and drawn by B. Picart, one as designed by S. Le Clerc, one as designed by B. Picart. Many are signed by their engravers - Philip à Gunst (one as directed by B. Picart and engraved by Phil. à Gunst), J. Vandelaar (or I. Wandelaar), Martin Bouche, Jan Schenck, 'MB', Petr. Paul. Bouche, Iakob Folkema, W. Jongman, Fred. Bouttats. The title-page vignette of Volume I is signed as drawn by B. v. Overbeke and engraved by F. Mulder. Many tailpieces are signed 'VLS'. The book is dedicated by the publishers, R. and J. Wetstein and W. Smith, to the Countess of Pembroke. [Description is cited from the Royal Academy of Arts] Physical description: Two large 4to volumes, first title page printed in red and black, added engraved title in the first volume; half-title in the second volume; illustrated throughout with copperplate engravings in text; text printed in parallel columns in Latin and English; three leaves extraneous to collation each with two engravings in the second volume; bookplate pasted to the front endpaper in each volume: Ex Libris Theodore C. Tebbetts (Theodore Charles Tebbetts, American, 1871 – 1920) designed after Francis Carruthers Gould (British, 1844 – 1925); pages 517-520 of the second volume torn with loss of bottom blank corners and a word or two; original full leather, spines tooled elaborately in gilt; some boards detached, endcaps and corners rather worn, contents bright and fresh. Size: Large 4to; 47.5 x 31 cm. -
![Owen E. Holloway. French Rococo Book Illustration. – London: Alec Tiranti, 1969. – pp.: ffl [2 blanks] [i-iv] v-vi, 1-283, bfl.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2526.2020-d-500x500.jpeg)
Title page (in red and black): FRENCH ROCOCO | BOOK ILLUSTRATION | OWEN E. HOLLOWAY | {vignette} | LONDON/ALEC TIRANTI/1969 || Series: Pagination: [2 blanks], [i-iv] v-vi, 1-115 [116 blank], plus 65 leaves of plates (283 illustrations). Binding: 25.5 x 19 cm; publisher's navy buckram, gilt lettering to spine, pictorial dust jacket, unclipped. -
Phaedri, Aug. Liberti Fabularum Aesopiarum libri V / notis illustravit in usum serenissimi principis Nassavii David Hoogstratanus. Accedunt ejusdem opera duo indices, quorum prior est omnium verborum, multo quam antehac locupletior, posterior eorum, quae observatu digna in notis occurunt. — Amstelaedami : Ex Typographia Francisci Halmae, MDCCI [1701]. — pp.: [1] title, [1] (portr.), [32] 160, [84], 18 leaves of plates. Vita Phaedri is written by Johannes Schefferus (February 2, 1621 – March 26, 1679). Appendix fabularum is written by Marquard Gude (Gudius) (1 February 1635 – 26 November 1689). Gaius Julius Phaedrus was a 1st-century CE Roman fabulist and the first versifier of a collection of Aesop's fables into Latin. David van Hoogstraten (Rotterdam, March 14, 1658 - Amsterdam, November 21, 1724), a physician, poet and linguist, annotated the fables and dedicated them to Johan Willem Friso van Oranje-Nassau (14 August 1687 – 14 July 1711). The book was published in Amsterdam by François Halma (Langerak, January 3, 1653 - Leeuwarden, January 13, 1722), a Dutch printer, publisher and bookseller, with a portrait of Prince of Orange-Nassau, engraved by Pieter van Gunst (Dutch, Amsterdam 1659–1724) after Bernard Vaillant (Dutch, Lille 1632–1698 Leyden). The title page was engraved by P. Boutats after Jan Goeree (Dutch, Middelburg 1670–1731 Amsterdam). The edition is adorned throughout with 18 plates, each with 8 médaillons, designed and engraved by Jan van Vianen (Dutch, 1660–1726), and with vignettes, head- and tailpieces, inhabited initials, etc. Contemporary vellum over boards, title in red and back, red edges, 4to, 26 x 20 cm. Seller's description:4to, engraved general title, letterpress red & black title page with allegorical engraved vignette. 18 full-page copper-engraved plates by Jan van Vianen, each featuring six circular images, and 38 in-text reproductions, engraved decorative initials, and head- and tailpieces. Phaedrus (15 BC - 50 AD, Italy), was a "Roman fabulist, the first writer to Latinize whole books of fables, producing free versions in the iambic metre of Greek prose fables then circulating under the name of Aesop." (Ency. Brit.). This deluxe edition was specially created for the Prince of Nassau, profusely illustrated with fine engravings. Dibdin spoke highly of it in his Greek and Latin Classics (4th edition): "I have always considered this as a correct and very sumptuous edition. It is ornamented with a great number of small plates, or medallions, in which the subject of the fable is very ably and spiritedly executed.Ref.: Metropolitan Museum; Musée Médard -
Quinze poèmes d'Emile Verhaeren. Illustrés de 57 gravures sur bois dessinées et gravées par Frans Masereel et suivis d'un 'Souvenir à Verhaeren' par Octave Uzanne. — Paris: Éditions Georges Crès, 1917. Authors: Emile Verhaeren (text), Frans Masereel (illustrations), Octave Uzanne (text). Publisher: Éditions Georges Crès. [Georges-Célestin Crès (1875 - 1935) was a French publisher and bookseller. Address: 116 boulevard Saint-Germain, Paris]. Printer: Sonor S.A. - Geneve, under the direction of Auguste Jordanis. The number of copies printed: 1555 of which 15 (1-15) on Japan paper, 190 (16-205) on Fabriano paper, and 1350 (206-1555) on English paper (1506-1555 not for trade). This copy № 1312. Pagination: [i] - front cover, [ii] - half-title, [iii] - title, [iv] - printrun justification, [v] - table of contents, [vi] - blank, [i-vii] viii-ciii, [civ] - printer statement, [cv] - back cover; one-side (recto) printing and pagination. Owner's contemporary red half-Morocco with marbled boards; spine with four raised bands, gilt lettering and design elements. Original printed paper wrappers preserved. Marbled endpapers. Trimmed unevenly. -
Made of two moulded symmetrical halves, joined before attaching the handle. On an unglazed base. Glazed in three colours (green, amber and ivory) and the tail is glazed black or dark blue. China, the Tang dynasty [唐朝] (618 – 907). Height: 37 cm. -
A two-volume set in the contemporary full calf, imitating the editorial cloth binding. Vol. 1: SCÈNES | DE LA | VIE PRIVÉE ET PUBLIQUE | DES ANIMAUX | VIGNETTES | PAR GRANDVILLE. | — | ÉTUDES DE MŒURS CONTEMPORAINES | PUBLIÉES | SOUS LA DIRECTION DE M. P. – J. STAHL , | AVEC LA COLLABORATION | DE MESSIEURS | DE BALZAC. – L. BAUDE. – E. DE LA BEDOLLIERE. – P. BERNARD. – J. JANIN. | ED. LEMOINE. – CHARLES NODIER. – GEORGE SAND. | [VIGNETTE] | PARIS. | J. HETZEL ET PAULIN , ÉDITEURS , | RUE DE SEINE-SAINT-GERMAIN , 33. | 1842 Pagination: [2 blanks] [2 - ht. / imprim.] [2 - blank / frontis.] [2 - t.p. / blank] [4] [1] 2-386 [6 - table] [2 blanks], 96 whole-page wood-engravings after Grandville, vignettes within the text including head and tailpieces, together with a frontispiece. VOL. 2: SCÈNES | DE LA | VIE PRIVÉE ET PUBLIQUE | DES ANIMAUX | VIGNETTES | PAR GRANDVILLE. | — | ÉTUDES DE MŒURS CONTEMPORAINES | PUBLIÉES | SOUS LA DIRECTION DE M. P. – J. STAHL , | AVEC LA COLLABORATION | DE | MM. DE BALZAC, – L' HERITIER (DE L' AIN), – ALFRED DE MUSSET – PAUL DE MUSSET, | CHARLES NODIER, – MADAME M. MENESSIER NODIER, – LOUIS VIARDOT. | [VIGNETTE] | PARIS, | J. HETZEL , ÉDITEUR , | RUE DE SEINE-SAINT-GERMAIN , 33. | 1842 Pagination: [2 - ht. / imprim.] [2 - blank / frontis.] [2 - t.p. / blank] [1] 2-390 [6 - table], 105 whole-page wood-engravings after Grandville, vignettes within the text including head and tailpieces, together with a frontispiece. Size: Each volume 27 x 18 cm; In-4to (usually classified as 8vo, however, the numeric signatures provide for gathering in-quarto). Binding: Full burgundy calf, gilt embossed Grandville's characters to boards and spine, lettering to spine, white moire end-papers to vol. 1, and yellow end-papers to vol. 2, all margins gilt. Combination of the 1st and 2nd print-runs of the 1st edition. Ref.: L. Carteret, 1927: pp. 552-558. Wikipedia; Gallica; Hathi Trust. In: British Museum, MET, RISD Museum, Fine Arts Museums of San Francisco. -
![[Charles Octave Moget, Joseph Décembre]. Sempronius. Histoire de la Commune de Paris en 1871. Paris, Décembre-Alonnier, [1871]. – pp: [i, ii - ht, imprim.] iii, iv - t.p., blank] [v - table] vi-viii (viii numbered iii), [1] 2 [3] 4-267 [268 blank] [1] 2-12 advert. [Pseudonym of Charles Octave Moget and Joseph Décembre]. Charles Octave Moget, dit Octave Féré (1815-1875); Joseph Décembre, dit Décembre-Allonier (1836 – 1906).](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2445.2020-a-1-500x500.jpeg)
Front publisher’s yellow wrapper, in a double frame: SEMPRONIUS | HISTOIRE | DE LA | COMMUNE DE PARIS | EN 1871 | La période impériale. – La Révolution du 4 Septembre. – Le | gouvernement de la Défense nationale. – Le Parti républicain | et le Parti socialiste. – L'Association internationale des | travailleurs. – Menées du parti socialiste. – La Commune en 1793. – Le 31 octobre et le 22 janvier. – La Capitulation de | Paris. – Le 18 mars. – L'Assassinat des généraux Clément | Thomas et Lecomte. – Le Comité central de la Garde nationale. | – La Commune ; – Ses Agissement. – Son Budget. – La | Terreur. – Insolence des Fédérés. – Les journaux. – Les Otages. | – Les Opérations militaires. – Les Fusillades. – Les Vols. – Les | Barricades. – Les Incendies. – Documents officiels de la Commune. | TROISIÈME ÉDITION | PARIS, DECEMBRE - ALONNIER, LIBRAIRE-ÉDITEUR | 20 RUE SEGUR, 20 | PRÉS DE LA PLACE SAINT-ANDR -DES-ARTS || Title page: similar to the cover with no frame. Pagination: front wrapper, [2] – h.t. / imprint., [2] – t.p. / blank, [i] – table de matières, vi (i.e. ii), vii (i.e. iii), iii (i.e. iv), [1] 2-267 [268 blank], [1] 2-12 – publisher's advert., back wrapper. Collation : 18mo ; π4, 1-1518, ß6. Binding: 18.5 x 12 cm; softcover; original yellow wrappers, black lettering to covers and spine; almost disbound. Réferences: Le Quillec (1997): 2324; University of Sussex > Paris Commune Collection. Author of the book: "SEMPRONIUS" was in reality two men: Moget, Charles Octave [Féré, Octave] (French, 1815 – 1875) and Décembre, Joseph [Décembre-Allonier] (French, 1836 – 1906). -
The edition consists of two albums:
1) Skizzenbuch: Hundert Federzeichnungen von Heinrich Kley. — München: Albert Langen, [1909]. — pp.: [1-4] 5-63 [64], illustr. Printed by Hesse & Becker in Leipzig. Bound in the original brown moire covered boards, with a paste-down drawing on the front, gilt cover titles, original patterned endpapers.
2) Skizzenbuch II. Hundert Federzeichnungen von Heinrich Kley. — München: Albert Langen, [1910]. — pp.: [1-4] 5-64, illustr. Printed by Hesse & Becker in Leipzig; paper by Bohnenberger & Cie.; binding by E. A. Enders, Leipzig. Bound in the original bluish-gray moire covered boards, with a paste-down drawing on the front, gilt cover titles, original patterned endpapers.
The number of printed copies unknown. Reproduction of ink drawings by Heinrich Kley, 1st edition.
Dimensions of each album: 32 x 24.5 cm; Quarto. Heinrich Kley (April 15, 1863 in Karlsruhe – 1945? in Munich) was a German illustrator, editorial illustrator and painter. -
[Bonaparte, Louis Napoleon]. The Political and Historical Works of Louis Napoleon Bonaparte, President of the French Republic, Now First Collected With An Original Memoir of His Life, Brought Down to the Promulgation of the Constitution of 1852; and Occasional Notes, Complete in Two Volumes. London: Illustrated London Library, MDCCCLII [1852]. Collation: Vol. 1: [i-v] vi [vii-viii (blank)] [1] 2-462 [463,464 (blank)]; Vol. 2: [1-3] 4-439 [440]. Size: 22.8 x 14.8 cm (8vo), each. Binding: hardcover; half red morocco and cloth boards, five raised bands, gilt title and decoration, top edge gilt. Frontispiece portrait of Louis Napoleon Bonaparte in Vol. 1. Condition: Very good, rubbing to outer joints, leather corners, faint foxing to endpapers, ownership signature on half-title. Internally bright and unmarked. In binding by Brentano's, New York. -
Full Title: THE | ORIGIN AND PROGRESS | OF | WRITING, | AS WELL HIEROGLYPHIC AS ELEMENTARY, | ILLUSTRATED BY ENGRAVINGS TAKEN FROM | MARBLES, MANUSCRIPTS AND CHARTERS, | ANCIENT AND MODERN. | ALSO, | SOME ACCOUNT OF THE ORIGIN AND PROGRESS OF PRINTING. | – | By THOMAS ASTLE, Esq. F.R.S. F.S.A. and | Keeper of the RECORDS in the Tower of LONDON. | – | LONDON: | Printed for the AUTHOR; | Sold by T. PAYNE and SON, B. White, P. Elmsly, G. Nicol, | and LEIGH and SOTHEBY. | M DCC LXXXIV. Pagination: ffl [i, ii] - t.p., blank, [iii, iv] - dedication, blank, [v] vi, vii - contents, [viii] - blank; [i] -xxv - introduction, [xxvi] blank; 1 - of the origin and progress... - 235 [236] blank (229-235 additions and corrections); on p. 235 imprint: FROM THE PRESS OF J. NICHOLS, MDCCLXXXIV; bfl; 31 plates: op. p. 64 (folding), 66, 70, 72 (2), 76, 80 (2, on recto and verso), 82 (2, on recto and verso), 84, 92, 94, 96 (folding), 98 (folding), 100, 102, 104 (folding), 106 (folding), 108 (folding), 112 (folding), 128 (folding), 140 (2, on recto and verso), 142, 146, 150 (folding), 158, 160, 176, 178, folding platessigned "B. T. Pouncy". Collation: [A4] a–c4 π1 B-Z4 Aa-Ff4 Gg2 Hh4. Size: 4to, 29.1 x 24.3 cm. Binding: contemporary full polished brown calf professionally re-backed, single-fillet gilt border to covers, raised bands, black title label with gilt lettering and gilt fillets, gilt year lettering to bottom. Printed on laid paper, margins marbled. Bookplates: "Alex-r Carlile" to front pastedown, "Nicholas Wall. Sometime his book" to back pastedown. To front pastedown: pencil inscriptions and pasted clipping about the book. -
Title: A GENERAL | HISTORY | OF | QUADRUPEDS. | – | THE FIGURES ENGRAVED ON WOOD BY THOMAS BEWICK. | {vignette} | — | NEWCASTLE UPON TYNE : | PRINTED BY AND FOR S. HODGSON, R. BEILBY, & T. BEWICK, | NEWCASTLE: SOLD BY THEM, BY G. G. J. & | J. ROBINSON, AND C. DILLY, LONDON. | 1790. Pagination: [4 blanks], [i, ii] – t.p. / blank, [iii, iv] – advertisement / index, v-viii – index, [1] 2-456 [4 blanks]. Collation: demi 8vo; a⁴ A-Ee⁸ Ff⁴. A3 unsigned, catchword at p.375 THE instead of WE. Variant A (with a fly facing upward). Size: 21.8 x 14 cm; page 21.2 x 13 cm. Woodcuts: 260 descriptions of quadrupeds; 200 figures of quadrupeds, 104 vignettes, tailpieces, etc. Binding: Full marbled calf, gilt double border, black label with gilt lettering to flat spine. There were 1,500 copies Demy copies printed. Catalogue raisonné: S. Roscoe (1953): pp. 5-11; Hugo (1866): pp. 22-23. -
Title: BIBLIOMANIA; | OR | Book Madness: | A BIBLIOGRAPHICAL ROMANCE, | IN SIX PARTS. | Illustrated with Cuts. | BY THE REV. | THOMAS FROGNALL DIBDIN. | {vignette} | INTERIOR OF THE BODLEIAN LIBRARY | I pity all our great ones and rich men that know not this happiness. HEINSIUS. | LONDON: PRINTED FOR THE AUTHOR, | By J. McCreery, Blackhorse-court, Fleet-street; | AND SOLD BY MESSRS. LONGMAN, HURST, REES, ORME, | AND BROWN, PATERNOSTER-ROW. | 1811.|| Pagination: ffl, [i, ii] - ht, frontis., [iii, iv] - t.p., blank, [v]vi-ix - to the reader, [x] - blank, [2] - contents, [1, 2] - part 1 fl. t.p., blank, [3] - woodcut frame and capital I, 4-782 (imprint to p. 782) [2] - errata, blank, bfl; 1 plate op. p. 158. Collation: [A]6 B-Z8 2A-2Z8, 3A-3B8, 3C-3F4. Binding: 8vo, 23 x 14 cm, modern full dark brown calf by Period Binders (Bath, England), gilt fillet border to boards, raised bands with gilt ornaments and lettering to spine, pp. 685-688 an open tear in upper 1/8 of lateral margin, all margins marbled. Substantially revised 1st edition ("so much altered and enlarged, as to assume the character of a new work"). Author: Thomas Frognall Dibdin (British, 1776 – 1847). -
A two-volume set: (1) Thomas Hugo. The Bewick Collector. A Descriptive Catalogue of the Works of Thomas and John Bewick; Including cuts, in various states, for Books and Pamphlets, Private Gentlemen, Public Companies, Exhibitions, Races, Newspapers, Shop Cards, Invoice Heads, Bar Bills, Coal Certificates, Broadsides, and other miscellaneous purposes, and Wood Blocks. With an Appendix of Portraits, Autographs, Works of Pupils, etc., etc. The whole described from the Originals contained in the largest and most perfect collection ever formed, and illustrated with a hundred and twelve cuts. — London: Lovell Reeve and Co., MDCCCLXVI [1866]. — [Printed by] J. E. Taylor and Co., printers. — pp.: [i-v] vi-xxiii [xxiv], [1] 2-562. (2) Thomas Hugo. The Bewick Collector. A Supplement to a Descriptive Catalogue of the Works of Thomas and John Bewick; Consisting of additions to the various divisions of cuts, wood blocks. etc., enumerated in that work. The whole described from the Originals contained in the largest and most perfect collection ever formed, and illustrated with a hundred and eighty cuts. — London: L. Reeve and Co, MDCCCLXVIII [1868]. — [Printed by] J. E. Taylor and Co., printers. — pp.: [i-vii] viii-xxxii, [1] 2-353. Both volumes in 8vo, 22.5 x 14.5 cm, hardcover. Contemporary dark brown half morocco, gilt-ruled, with 5 raised bands, gilt titles and decoration to spine, and marbled paper over boards. Top edge gilt; marbled endpapers. Binding splitting at pp.80/81 of the 1st volume. Armorial bookplate of Ralph Hart Tweddle to front pastedown. Ralph Hart Tweddle (1843 – 1895) was a British mechanical engineer, known particularly for inventing the portable hydraulic riveter, which greatly facilitated the construction of boilers, bridges and ships. -
Title page: HIGHLIGHTS of the COLLECTION | Maiolica: Italian Renaissance Ceramics | IN THE METROPOLITAN MUSEUM OF ART | Timothy Wilson | with an essay by Luke Syson | {publisher’s device}| The Metropolitan Museum of Art, New York | DISTRIBUTED BY YALE UNIVERSITY PRESS | NEW HAVEN AND LONDON || Pagination: [i-v] vi-xi [xii] [1, 2] 3-380. New/mint. Binding: 31 x 22.5 cm, blue cloth with gilt lettering to spine, pictorial DJ. -
Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. c 1823 – 1864), seal name Kaku-Tsuji [角辻]. Signed: Gountei Sadahide ga [五雲亭貞秀画] Censor's seal: kiwame, date seal: Tenpō 3 (1832). Size: Uncut fan print (uchiwa-e); 218 x 282 mm. Portrait of a young woman dressed in a green kimono decorated with arabesque (karakusa) and flowers, her black obi adorned with a dragon, in a western-style frame, on a blue background; and a painting of a parrot on a pomegranate tree. A similar design was used by Sadahide in 1860, described in detail by Sebastian Izzard in his Japanese Prints of the Mid-Nineteenth Century: 1830–1865, September 20–October 24, 2006 exhibition: Picture of a Curio Shop in Yokohama: reverse painting on glass of a crimson parrot, coloured copperplate engraving of a mother and child (Yokohama urimono mise no zu: gyokuban abura-e, doban-e saishiki). Colour woodblock print: oban tate-e, 143/8 x 93/4 in. (36.5 x 24.8 cm.); Man-en I/3 (3/1860) Series: Picture of Goods for Sale in Yokohama (Yokohama urimono zue no uchi) Signature: Gountei Sadahide ga, double toshidama seal Publisher: Daikokuya Kinnosuke.
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Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A young woman adjusting her hairpins in the light of a paper lantern. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0309.2020: A young woman reading a book in the light of a lamp.
Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画). Publisher: Maruya Kiyojiro.
Size: Vertical Ōban (37.5 x 25.4 cm). Utagawa (歌川) SOLD -
Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A young woman reading a book in the light of a lamp. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0306.2020: A young woman adjusting her hairpins in the light of a paper lantern.
Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画).
Publisher: Maruya Kiyojiro.
Size: Vertical Ōban (37.5 x 25.4 cm). -
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: Kojimaya Jūbei (c. 1797-1869), seal: Hanmoto, Jū [板元, 十] (Marks 19-043 | 264c).
Double nanushi censor seals: Mera & Watanabe – Kaei 4 (1851).
Uncut fan print (uchiwa-e), 298 x 228 mm depicting a young woman adjusting her hairpin and holding a portable lantern (andon) on a marine background with the full moon, nearby boats and distant cormorant fishers. -
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 Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Combined date and kiwame seal: Ansei 5 (II-XII/1858). Size: Untrimmed fan print (uchiwa-e), 300 x 232 mm.A young woman adjusting her hairpin on a balcony during the Tanabata festival, as inscribed on the white folding fan: [七夕] (Tanabata).
Inscription on the blue book (print title): Early autumn [はつ秋や] (hatsu akiya), inscription on the purple book (series title): Short love songs, second volume [端唄の意 二編] (Hauta no kokoro nihen). According to Marks (2010), Hauta no kokoro nihen series of fan prints was published by Ibaya in 1858 (p. 267|P6871).
The series refers to love songs of a certain type popular in late Edo. They were performed with the accompaniment of a shamisen, “Seven herbs of autumn, the song of the insects is not heard; the bodies of lightning bugs are burnt, and the precious writings of love are getting thinner like the song of the insects as I am waiting for you. So, on an early autumn evening, I spot the glitter of a lightning bug that lingered among the autumn grasses, and while listening to the pine cricket, I am singing with my heart troubled by love". [Tokyo National Museum; translation provided by Elena Varshavsky].Tanabata [たなばた] or [七夕] – meaning "Evening of the seventh", also known as the Star Festival [星祭] (Hoshi matsuri) – is a Japanese festival originating from the Chinese Qixi Festival. One popular Tanabata custom is to write one's wishes on a piece of paper and hang that piece of paper on a specially erected bamboo tree, in the hope that the wishes become true.
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Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).A man with a shaved head (a monk), holding a paper lantern and an umbrella, walks with a young woman (a geisha) in the rain.
SIGNED: Gototei Kunisada ga [五渡亭国貞画]
Censor's seals: kiwame, futakata.
Blockcutter's mark: Seizô tô [改印：極、貳方]
MFA ACCESSION NUMBER 11.15150; MFA dating: about 1815–21 (Bunka 12–Bunsei 4);
Size: Vertical Ōban (382 x 260 mm). SOLD -
Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861).Title: Suzume fukube [美人団扇絵] (Sparrow and gourds).
Series: Kacho awase [花鳥合] (Collection of flowers and birds).
Publisher: Aritaya Seiemon [有田屋 清右衛門] (Japanese, fl. c. 1830 – 1862); Seal: Marks 17-011 | 014d.Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia crest (kiri mon).
Size: Uchiwa-e (untrimmed fan print) 296 x 230 mm.
Double nanushi censor seals: Kinugasa & Watanabe, Kaei 2-3 (1849–50).
Ref.: Kuniyoshi Project. -
Artist: Utagawa Sadahide [歌川 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. Signed: 五雲亭 貞秀 (Gountei Sadahide) A pair of uncut fan prints with the god of wind and the god of thunder meant to be pasted on two sides of a uchiwa fan. This is an allusion to the famous painting Wind God & Thunder God [Fujin Raijin, 風神雷神図] by Ogata Korin [尾形光琳] (1658 - 1716).
And the earlier versions of the same by Tawaraya Sotatsu [俵屋宗達] (1570-1643).
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Title: Eleventh lunar month (Chuto no zu); Series: Fashionable Twelve Months (Imayo juni-kagetsu). Another version of translation: Modern Beauties of Twelve Months. Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869), seal: Dansendō [伊場仙]. Signed: Toyokuni ga and sealed with toshidama. Date-kiwame seal: Ushi (ox), Bunsei 5 (1822). Size: double-sheet uncut fan print ( aiban uchiwa-e), 219 x 295 mm.
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Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Signed: Toyokuni ga [豊国 画]. Publisher's seal: Ibaya Sensaburō (Marks 08-067 | 127b). Date-aratame seal: Bunsei 3 (1820). Size: Uncut fan print (uchiwa-e), 224 x 254 mm. Ichikawa Ebijūrō I as Nuregami Chōgorō [濡髪の長五郎], Nakamura Daikichi as Hanaregoma Oseki [放駒のお関], and Ichikawa Danjūrō VII as Hanaregoma Chōkichi [放駒長吉] in a kabuki play Futatsu Chôchô Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters (see: LIB-0879.2015 | Brandon, James R., Leiter, Samuel L. Kabuki Plays on Stage: Brilliance and Bravado, 1697-1766 (Volume 1). — Honolulu: University of Hawai'i Press, 2002.) The play was performed at Kawarasakiza (Edo) in May of 1820. Actors: Ichikawa Ebijūrō I [市川鰕十郎] (Japanese, 1777 – 1827); other names: Ichikawa Ichizō I [市川市蔵], Ichinokawa Ichizō [市ノ川市蔵]. Nakamura Daikichi I [初代中村大吉](Japanese, 1773 – 1823); other names: Fujikawa Daikichi [藤川大吉]; poetry name Hajō [巴丈]; pen name Naruo Yatarō [藤川大吉]. Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. -
[Michael Hoyer]. Vita B. Ioannis Chisii a Maciaretto, ord. ermit. s. p. Augustini. — Antverpiæ, Apud Henricum Aertssens, Anno MDCXLI [1641]. Pagination: [2] *3+recto unpag. *4+recto unpag., [10], 5-135 [3]. Illustrations: Frontispiece missing, 4 copperplate engravings (pp. 22, 64, 90, and 120) by Pieter de Jode the Younger (1606–1674, Flemish printmaker, draughtsman, painter and art dealer) after Erasmus Quellinus the Younger (1607–1678, Flemish painter, engraver, draughtsman and tapestry designer). Size: Pott 8vo (15.5 x 10 cm), vellum binding. Expanded title: Vita Beati Ioannis Chisii, a Maciaretto, Ordinis Eremitarum Sancti Patris Augustini. [Translation: Life of Blessed Giovanni Chigi from Maciaretto, Order of Hermits of St. Augustine]. Blessed Giovanni Chigi (1300 - 1363) [1] was a lay brother of the Order of Hermits of St. Augustine. The Chigi family is a Roman princely family of Sienese extraction descended from the counts of Ardenghesca. The earliest authentic mention of them is in the 13th century, with one Alemanno, counsellor of the Republic of Siena. The Wikipedia article does not mention Giovanni Chigi, however, it states that one of the Chigi, Cardinal Fabio Chigi, was elected pope as Alexander VII at the Conclave of 1655. The book was published in 1641 with a dedication to the said Cardinal Fabio Chigi before he was elected pope. The town, Maciaretto, where Giovanni Chigi was from, is unclear because there is no such place in modern Italy, and there are two places called Macereto: (1) Macereto Alta/Basso in Perugia province and (2) Macereto in the municipality of Visso, in the province of Macerata, region Marche. I assume that our Giovanni Chigi was from the one that is closer to Siena, i.e. Macereto in Perugia province. Regarding the author. There is no author's name in the book. However, in various sources, the book is mentioned as written by Michel Hoyer, who was born in Hesdin, Flanders in 1593 and died in 1650. He pursued an ecclesiastical career and professed rhetoric at the College of Saint Pierre in Lille. He later joined the Order of Saint Augustine, in the convent of Ypres, and settled in various schools in the Netherlands. His reputation attracted many students, among them Albert Rubens (1614–1657), the eldest son of Peter Paul Rubens and Isabella Brant. Michel Hoyer wrote several books, the most known is Flammulae amoris, S.P. Augustini versibus et iconibus exornatae:
Surprisingly, there is only limited information about Michel Hoyer in Spanish Wikipedia; other language versions of his biography do not exist. Another author mentioned in the book is some anonymous Augustinian from Cologne.
Regarding the illustrations. In our copy, the frontispiece is missing. It was probably ripped off by some unscrupulous seller of antique prints.
The image on the missing frontispiece is this:
The names of the artists engraved in the bottom of the stone: E. Quellinus, delin. to the left and P. de Jode, fecit. to the right. We can infer that the other illustrations in that book are produced by the same duo. The image represents three cherubs: one with Athena's serpent in his left hand and a cardinal's hat in his right hand; another in Athen's helmet on his head and her owl beside his feet, with the staff of Mercurius (serpent-twined staff adorned with a winged hat) in his left hand, and the House of Chigi - Della Rovere coat of arms in his right hand; the third cherub depicted with the Hercules attributes - lion pelt and a club.
Regarding the publisher. Henricum Aertssens or Hendrik Aertssen, 1586-1658. Besides the other books, he published PIA DESIDERIA by Herman Hugo in 1636 [1621 french edition by Jean Cnobbartin in Antwerp in his collection LIB-1657.2018]. According to Nina Lamal [2], nothing is known about career of this publisher, besides what's said in Adresboek van zeventiende-eeuwse drukkers, uitgevers en boekverkopers in Vlaanderen / Directory of seventeenth-century Printers, Publishers and Booksellers in Flanders / Vlieger-De Wilde, Koen De (editor). The list of his publications can be seen here.
Other artists who turned to the figure of Blessed Giovanni Chigi were Abraham van Diepenbeeck (painter) and Conrad Lauwers (engraver). The print is in Rijksmuseum, in Amsterdam.
Here we see a more complex composition but with a clear reference to the work of Quellinus and de Jode: The cherub in Athena's helmet takes away the old coat of arms of the Chigi, and the other cherub points out to the new one, with papal symbols of St. Peter's keys, another cherub carries the papal tiara. Rijksmuseum dates the image as 1642 - 1685; most probably it is ca. 1655, when Fabio Chigi became Pope Alexander VII, and propaganda was focused on promoting his outstanding ancestor Giovanni, who died 300 years before. Giovanni Chigi is depicted here resurrected, accompanied by the archangel, and receiving the blessing from Jesus on the cross.
1 - Michael J. Walsh. A New Dictionary of Saints: East and West, p. 308.
2 - Nina Lamal. Publishing military books in the Low Countries and in Italy in the early seventeenth century in 'Specialist Markets in the Early Modern Book World', ed. Richard Kirwan, Sophia Mullins, Leiden: Koninklijke Brill, 2015, pp. 232-233.
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Title: THE | BIOGRAPHY AND | TYPOGRAPHY | OF | WILLIAM CAXTON, | ENGLAND'S FIRST PRINTER. | BY | WILLIAM BLADES. | LONDON : | TRÜBNER & CO, 57 & 59 LUDGATE HILL. | STRASSBURG : | KARL I. TRÜBNER. | 1877. || Pagination: ffl, [2] blank, [i, ii] - t.p., imprint, [iii], iv, v - preface, [vi] - cul-de-lampe, [vii], viii - contents; [1], 2-383 [384] - imprint, 2] - blanks, bfl.; 18 plates: op. p. 8, 22, 54 (3), 60, 126 (4), 283, [311], 336, 358 (5). Collation: 8vo; [A]4 B-Z8 AA8 BB7. Exterior: 22.6 x 14.8 cm, printed on watermarked Zanders laid paper, original brown decorated paper boards, spine with decoration and lettering, marbled end-papers, water stain to bottom of upper cover, slightly rubbed, upper margin marbled, other untrimmed, binder's mark to back pastedown: "Bound by Simpson & Renshaw". Bookplates to front pastedown: upper: F. Marcham | Tempora mutantur, nos et mutamur in illis. | Hornsey | 1907"; lower: (2) "From the library of | H. Harvey Frost". Caxton, William (British, c. 1422 – 1491). Blades, William (British, 1824-1890) Frank Marcham (1883 – 1934), motto: "Times are changed, we also are changed with them". This book is based on the author's The Life and Typography of William Caxton, London: J. Lilly, 1861-63, – "A new 'Life' in a more handy form". -
Oblong round shape (nagamaru-gata) tsuba with design of dragonfly (tombo or katsumushi) and wheel (kuruma) in negative openwork (kage-sukashi), round rim (maru-mimi ). Copper sekigane.
Okamoto Yasukazu's Owari to Mikawa no tankō, №181 characterizes the tsuba as follows: "Katsumushi, kuruma-sukashi no zu (dragonfly and wheel sukashi). Mei: Yamakichibei (Shodai). Such small tsuba are rare for the Shodai. The nakago-ana is also small so it was probably intended to be mounted on a tantō. Regardless of its size, the iron is outstanding and the workmanship shows the characteristic features of the Shodai (first generation). The kuruma-sukashi design is interpreted here in a half-moon shape and only on one side of the tsuba. Such a design is also seen on works of the Nidai (second generation)...". Signed to the left of nakaga-ana: Yamakichibei (山吉兵へ). Attributed to the First Generation (Shodai) master.
NBTHK paper (translated by Markus Sesko): The Tokubetsu-Kichō Kodōgu. Kachimushi-kuruma sukashi-tsuba (勝虫車透鐔) - Tsuba with sukashi motif of dragonfly and cartwheel. Signed: Yamakichibei (山吉兵). Iron, marugata, ko-sukashi. Issued on April 1, 1977. [Copy only] Dimensions: H: 66 mm; W: 63.2 mm; Th(center): 3.8 mm; Th(rim): 3.5 mm. Weight: 68 g. -
![Аполлон Григорьев. Воспоминания / Ред. и коммент. Иванова-Разумника. Супер-обложка худ. В. М. Конашевича, тиснение на переплете худ. А. А. Ушина. – М., Л.: Academia, 1930. – (Памятники литературного быта. Воспоминания Аполлона Григорьева и воспоминания о нем). – Тир. 5070 экз. – pp.: [i-v] vi-viii, [1-3] 4-697 [3].](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2532.2020-a-500x500.jpeg)
Title page: АПОЛЛОН ГРИГОРЬЕВ | ВОСПОМИНАНИЯ | РЕДАКЦИЯ И КОММЕНТАРИИ | ИВАНОВА – РАЗУМНИКА | « ACADEMIA» | МОСКВА — ЛЕНИНГРАД | 1930 || Duplicate title: ПАМЯТНИКИ | ЛИТЕРАТУРНОГО | БЫТА | ВОСПОМИНАНИЯ | АПОЛЛОНА ГРИГОРЬЕВА | И ВОСПОМИНАНИЯ О НЕМ | «ACADEMIA» | МОСКВА — ЛЕНИНГРАД | 1930 || Title verso: Супер-обложка | худ. В. М. Конашевича | Тиснение на переплете | худ. А. А. Ушина | {imprint} || Print run: 5070 copies. Pagination: [i-v] vi-viii, [1-3] 4-697 [3]. Collation: 8vo; π4, 1-428, Ω14 (total 345 leaves) + 1 plate (photomechanical portrait frontispiece). Note: 11 unsigned. Binding: 18 x 13 cm; purple cloth, gilt-stamped with geometrical design, gilt lettering to spine, pictorial DJ (short, 16 cm). Catalogue raisonné: Крылов-Кичатова (2004): № 403, p.210. Григорьев, Аполлон Александрович (Russian, 1822 – 1864) – character, author. Конашевич, Владимир Михайлович (Russian, 1888 – 1963) – artist. Ушин, Алексей Алексеевич (Russian, 1904 – 1942) – artist. -
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) -
Конволют из 3-х номеров журнала "Иртыш, превращающийся в Ипокрену". Ежемесячное сочинение издаваемое от Тобольского Главного Народного Училища. — В типографии у В. Корнильева. — Тобольск: Тобольское главное народное училище, 1791 г. — 60, 62, 54 с. (Дореформ. орф.). July (Июль) 1791. — pp.: Missing title, table of content unpag., verso blank, [1] 2-60. June (Июнь) 1791. — pp.: Title with censor stat. on verso, table of content unpag., verso blank, [1] 2-62. August (Август) 1791. — pp.: Title, table of content unpag., verso blank, [1] 2-54. Bound in this order. "The Irtysh river turning into Hippocrene" was the first monthly magazine in Russian Siberia published in 1789 — 1791 in Tobolsk. It was featuring journalism, commentary, poetry, the fiction of provincial and metropolitan authors, as well as translations of various articles from foreign journals. It was published by Department of Tobolsk Public Education and printed in the establishment of Kornil'ev (Корнильев), a local merchant. The idea of publication belonged to Pankraty Sumarokov (1765 — 1814), a grandnephew of Alexander Sumarokov, distinguished Russian humanist and homme de lettres of Catherine the Great epoch. Pankraty was also the chief editor of the publication. Initially, the print run was 300 copies; reduced in 1791 to 106 copies only. -
![Римская сатира. Сборник: Гораций, Персий, Сенека, Петроний, Ювенал, Сульпиция, Аноним / Пер. с лат. Сост. и коммент. Ф. А. Петровского. Офрмл. худ. Евг. Когана. — М.: Гос. изд-во худ. лит., 1957. — pp.: [1-7] 8-315 [5].](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2494.2020-a-1-500x500.jpeg)
NEWHardcover, 263 x 180 mm, crimson buckram with black lettering and gilt garland to front, gilt lettering on black labels and gilt fleurons to spine, collated 8vo: 1-208, i.e. 160 leaves, pp.: [1-7] 8-315 [5]; light brown pictorial dust jacket. Half-title: ГОСУДАРСТВЕННОЕ | ИЗДАТЕЛЬСТВО | ХУДОЖЕСТВЕННОЙ | ЛИТЕРАТУРЫ || Title-page (crimson and black): {ornamental rule} | РИМСКАЯ | САТИРА | {vignette} | ПЕРЕВОДЫ С ЛАТИНСКОГО | • | ГОСУДАРСТВЕННОЕ | ИЗДАТЕЛЬСТВО | ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЫ | МОСКВА 1957 || Opposite t.p.: {ornamental rule} | ГОРАЦИЙ | ПЕРСИЙ | СЕНЕКА | ПЕТРОНИЙ | ЮВЕНАЛ | СУЛЬПИЦИЯ | АНОНИМ | {vignette} || T.p. verso (imprint): СОСТАВЛЕНИЕ И КОММЕНТАРИИ | Ф. А. ПЕТРОВСКОГО | * | ОФОРМЛЕНИЕ ХУДОЖНИКА | ЕВГ. КОГАНА || Print run: 25,000 copies. Authors: Ювенал [Juvenal, Decimus Junius Juvenalis] (Roman, c. 55 – 128) Гораций [Horace, Quintus Horatius Flaccus] (Roman, 65 – 8 BC) Персий [Persius, Aulus Persius Flaccus] (Roman, 34 – 62) Сенека [Lucius Annaeus Seneca the Younger] (Roman, 4 BC – 65 AD) Петроний [Petronius, Gaius Petronius Arbiter] (Roman, 27 – 66) Сульпиция [Sulpicia] (Roman, fl. 81 – 96) Translators: Дмитриев, Михаил Александрович (Russian, 1796 – 1866) Ярхо, Борис Исаакович (Russian-Jewish, 1889 – 1942) Недович, Дмитрий Саввич (Russian, 1889 – 1947) Петровский, Фёдор Александрович (Russian, 1890 –1978) Artist: Коган, Евгений Исаакович (Russian-Jewish, 1906 – 1983)
