-
Softcover volume, 19.5 x 14.3 cm, olive French flapped wrappers, glassine dust cover, printed on laid paper (Hollande), outer and bottom margins untrimmed, some pages uncut; pagination: [2] blank, [i-iv] h.t./limit., t.p./blank, v-viii, 1-196 [197] [5], total 212 pages plus frontispiece; head- and tailpieces and in-text stencil-coloured etchings after Chéripoulos. Title-page (olive and black): LE ROMAN | DE | VIOLETTE | {vignette} | A LA ROYNE DE CYTHÈRE | SODOME | 1920 || Limitation: Cet ouvrage, achevé d'imprimer le cinq Janvier Mil Neuf Cent Vingt à trois cents exemplaires dont vingt-cinq exemplaires sur Japon Impérial contenant chacun un dessin original de Chéripoulos, numérotés de un à vingt-cinq; deux cent soixante-quinze exemplaires sur papier de Hollande, numérotés de vingt-six à trois cents; en plus cinq exemplaires de collaborateurs marqués de A à E. Le présent exemplaire porte le numéro 72. Edition: Printed on the 5th of January 1920 in 305 copies (№№ 1-25 on Japon Impérial, №№ 26-300 on Hollande, A–E for collaborators). Catalogue raisonné: Dutel III № 2339, p. 350. Contributors: Henriette de Mannoury d'Ectot [Henriette Nicolas Le Blanc] (French 1815 – 1899) Charles Auguste Edelmann [Chéripoulos] (French, 1879 – 1950). -
NEWSoftcover volume 200 x 145 mm, in a slipcase, unbound, in French wrappers, sanguine lettering on cream paper, block printed on wove paper with watermark “Marais”, collated 8vo, pp.: [1-6] 7-114 [6], 60 leaves, first and last leaves blank; illustrated with 20 etchings, incl. vignette on front wrapper, two head- and two tailpieces, printed in sanguine; etching on t.p., similar to the one on the front wrapper, printed in black. Limited edition of 250 copies, this is copy № 24. Front wrapper and title-page: in a double frame A de M. | GAMIANI | {vignette} || Colophon: CE LIVRE | IMPRIMÉ AUX DÉPENS | D'UN GROUP D'AMATEURS | SUR PAPIER CHIFFON | A ÉTÉ TIRE | A DEUX CENT CINQUANTE EXEMPLAIRES | LA VENTE AU PUBLIC | EN EST RIGOUREUSEMENT INTERDITE | EXEMPLAIRE N°24 || [This book is printed at the expense of a group of amateurs on rag paper in two hundred and fifty copies; sale to the public is strictly prohibited]. Catalogue raisonné: Dutel III № 1649. Alfred de Musset (French, 1810 – 1857) – author. -
NEWNetsuke with a design of an old man carrying a giant mushroom on his back. Possibly signed on his left foot. 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.
Seller's description: "The old man carved walking, with one foot slightly raised, wearing a loose fitted robe and carrying a large long-stemmed mushroom on his back. The wood stained and bearing a fine patina. Himotoshi through the mushroom stem". See VO-0270.2018 for the same subject. Late 18th century. Dimensions: 62 mm tall -
NEWFinely carved as a rat (nezumi) seated on a shuro brush, bound naturalistically with thick bristles. The rodent with a long trailing tail and eyes inlaid in a dark horn. Generously excavated, asymmetrical himotoshi to the underside. According to Merrily Baird (Symbols of Japan, p. 156): …The Japanese do not clearly differentiate between the rat and the mouse, and one word, nezumi [鼠], designates both. …Rat is a messenger of Daikokuten, a deity of grain and vegetation who is one of Japan’s Seven Gods of Good Luck. ...Depictions of the rat are most common in years of the zodiac represented by the animal. Late 18th century. Dimensions: 49 x 33 x 16 mm. Provenance: From the private collection of Armand Basi (Spanish, 1924-2009). -
Agate snuff bottle carved with a dragon in clouds design; tin-mounted lapis lazuli collar with red coral stopper. Late 19th century. Dimensions: H56 x W52 x D34 mm. -
Agate snuff bottle of rounded rectangular form on raised foot with round neck, cream body with dark brown inclusion, carved in relief with a sage seated under a wooded rock, and a duck; round red agate stopper with brass collar. Late 18th or 19th century. The Qing dynasty (1644–1911). Dimensions: H72 x W48 x D28 mm -
NEWSoftcover, 270 x 210 mm, trimestrial comics magazine AH!NANA published by Les Humanoïdes Associés in Paris from October 1976 to September 1978, running issues 1 to 9. This is issue № 6, printed in 1977, 68 pp., incl. covers in colour by Liz Bijl. Authors/Artists include: Nicole Claveloux, Chantal Montellier, Marie-Noëlle Pichard, Shary Flenniken, Trina Robbins, Cécilia Capuana, and Marianne Leconte. -
Catalogue raisonné of Pascin's erotic drawings. Softcover, 21 x 15 cm, burgundy gloss pictorial paperback with lettering and vignettes, pp.: [1-3] 4-102 [2], illustrated throughout. Limited edition of 1,000 copies. Title-page: Pascin érotique | {round vignette} | éditions Astarté - Paris || Contributors: Alexandre Dupouy (French) Pascin, Jules [Pincas, Julius Mordecai] (French-Jewish, 1885 – 1930) -
Overlay of blue glass on snowflake glass snuff bottle, carved in relief with eight Buddhist treasures, with a pink glass stopper. Mid-20th century Dimensions: H66 x W50 x D25 mm -
A softcover volume 18.7 x 12.1 cm, in publisher’s cream wrappers, red lettering in red and green frames to front cover, in glassine dustwrapper, uncut, untrimmed, collated in 8vo: 1-98 104, pp. [1-8] 9-151 [152 blank], plus 6 illustrations reproduced in drypoint after Mario Tauzin's lithographs from the album 'Interdit aux adultes' (see SVE-0547.2024). Front cover : BONNE | A | TOUT | FAIRE Title-page : BONNE | A | TOUT | FAIRE Stated limited edition of 900, strictly for subscribers. According to J.-P. Dutel III 1108 (p.66): published by Éric Losfeld in the late 1950s. Bonne à tout faire is a French idiom = maid-of-all-work Éric Losfeld (Belgian-French, 1922 – 1979) — publisher Mario Tauzin (French, 1909 – 1979) — artist -
Cinnabar lacquer snuff bottle carved in low relief with a scholar under a pine tree and another under a maple, with lapis lazuli stopper and black collar. Early 20th century Dimansions: H77 x W36 x D19 mm. -
NEWPaperback, 240 x 160 mm, pp. [1-5] 6-156 [4], with black and white illustrations, pictorial front cover: PENETRATIONS SAUVAGES | {vignette} | Une pornographie extraordinaire | relatée par Cerkan de Sardan | et illustrée par Schaltès || -
NEWSoftcover, French flapped pictorial wrappers, 240 x 160 mm, translated title: Rape at the boarding school, pp. [1-6] 7-164 [4], 40 black and white illustrations by Garcini. Title-page: D’après un texte de | CERKAN DE SARDAN | VIOL | AU PENSIONNAT | illustrations de | GARCINI || -
NEWHardcover volume 295 x 240 mm, pictorial front cover and purple spine with gilt embossed lettering, back cover with orange lettering, craft endpapers, pp.: [1-6] 7-255 [1], profusely illustrated. Exhibition catalogue with 123 reproductions of Japanese woodblock prints. Title-page: The Riddles of | UKIYO-E | Women and Men in Japanese Prints 1765–1865 | Chris Uhlenbeck / Jim Dwinger / Josephine Smit | {publisher’s device LUDION} || Table of contents: Preface; Introduction; Beauties; Shunga; Legends; Kabuki; INDEX; LIST OF WORKS; BIBLIOGRAPHY; AUTHORS. -
NEWSoftcover, cream French flapped wrappers, 242 x 192 mm, glassine dust jacket, lower and outer margins untrimmed, red lettering to front wrapper CONTES LIBERTINS | DU | DIX-HUITIÈME SIÈCLE; in a double slipcase; 10 full-page colour intaglio prints, incl. frontispiece, and 10 half-page coloured prints after Antoine Calbet; pp.: [1-8] 9-223 [224] [6], total 115 leaves plus ten plates with tissue guards extraneous to collation. Copy enhanced with a full suite of 32 uncoloured intaglio prints, and 12 refused plates:
Title-page (red and black): CONTES LIBERTINS | DU DIX-HUITIÈME SIÈCLE | PRÉSENTÉS PAR EDMOND PILON | TRENTE-DEUX ILLUSTRATIONS EN COULEURS | DE | A. CALBET | {fleuron} | PARIS | LE VASSEUR & Cie, ÉDITEURS | 33, Rue de Fleurus ||
Limitation: 587 copies, of which 32 on Japon Impérial (№№ 1-32), 65 on Hollande Van Gilder (№№ 33-97), 490 on Velin a la forme de Rives (№№ 98-587). 25 copies were printed on top of this print run for collaborators, numbered in Roman letters. This copy is № 77 on watermarked Van Gilder Zonnen paper.
Colophon: LE TEXTE DE CET OUVRAGE A | ÉTÉ IMPRIMÉ SUR LES PRESSES | DE CL. JACOUB ET Cie. | LES ILLUSTRATIONS, GRAVÉES PAR L. MACCARD, ONT ÉTÉ | TIRÉES EN TAILLE-DOUCE | PAR A. PORCABEUF ET Cie. | ACHEVÉ D'IMPRIMER, A | PARIS, LE 12 OCTOBRE 1936.
Table of contents:
Histoire de madame Allain – Notice sur le comte de Caylus.
Histoire de Cidal Acmet – Notice sur l'abbé Prevost
Aline, reine de Golconde – Notice sur le chevalier de Boufflers
Cosi-Sancta – notice sur Voltaire.
Cécile, Marine et Bellino – Notice sur Casanova de Seingalt
Histoire de Babet – Notice sur l'abbé Du Laurens
Histoire de Fanny Hill – Notice sur John Cleland.
Louise et Thérèse – Notice sur Rétif de La Bretonne
Contributors:
Pilon, Edmond (French, 1874 – 1945) – compiler
Le Vasseur & Cie – publisher
Calbet, Antoine (French, 1860 – 1942) – artist
Cl. Jacoub et Cie – printer/text
Maccard, Louis (French) – engraver
Porcabeuf, Alfred (French, 1867 – 1952) – printer/plates
Authors:
Caylus, Anne Claude de [comte de Caylus] (French, 1692 – 1765)
Prévost d'Exiles, Antoine François [Abbé Prévost] (French, 1697 – 1763)
Boufflers, Stanislas Jean, chevalier de (French, 1738 – 1815)
Voltaire, François Marie Arouet de (French, 1694 – 1778)
Casanova, Giacomo Girolamo (Italian, 1725 – 1798)
Laurent, Henri-Joseph [Abbé Du Laurens] (French, 1719 – 1793)
Cleland, John (British, c. 1709 – 1789)
Restif [Retif] de la Bretonne, Nicolas Edmé (French, 1734 – 1806) -
NEWGelatin silver print 212 x 153 mm depicting a sitting woman in a dress with a dotted sheer top and exposed chest, in a hat, with the torso in ¾, turning her head to face the viewer and supporting her head with her right hand. Artist’s device in the bottom-right corner: “d'Ora | Benda”. This is likely a portrait of a Parisian milliner, Madame Agnès, i.e. Agnès Rittener (French, d. 1949).Verso: Blue ink stamp: Copyright | d'ORA | Wien, I. | Arthur Benda | 14160 (ms pencil) || Below pasted a label with blue lettering, framed: AG. SCHOSTAL PARIS | 81, RUE BLANCHE | TEL. TRINITÉ 23.05 | № 7835 (ms red pencil) / WIEN | STARHEMBERGG. 26 | TEL. U-42-0-81 | № 48283 (ms graphite pencil) / MILANO | VIA VIVAIO 24 | Tel. 24,244 | № BEI VERÖFFENTLICHUNG ZU NENNEN: | PLEASE ACKNOWLEDGE: MENTION OBLIGATOIRE: MENZIONE OBBLIGATORIA: | d'Ora Benda, Wien (SCHOSTAL) || Agentur Schostal was an Austrian press photo agency named after its founder, Robert Franz Schostal (German, 1906 - c. 1973). Artist: Kallmus, Dora [Madame d’Ora] (Austrian-Jewish, 1881 – 1963)
LIB-3351.2024 Madame d’Ora / edited by Monika Faber. – Munich, London, NY: Prestel Verlag / Neue Galerie, 2020, p.101.
-
NEWA silver-bromide print 22 x 16 cm depicting a sitting woman, naked, in a veiled hat, with the torso in profile, turning her head ¾ towards the viewer, with a black terrier lying under her right hand. Artist’s device in the top-right corner: “d'Ora | Benda”. According to the seller, it is a portrait of Lisa Petersen, a nude dancer. Artist: Kallmus, Dora [Madame d’Ora] (Austrian-Jewish, 1881 – 1963) -
NEWA silver-bromide print 390 x 290 mm depicting actor and singer Maurice Chevalier in a straw hat, smiling, with his head in ¾, facing to the left, dry mounted on cardboard. Signature in white manuscript to the bottom-right corner “d’ORA | PARIS”. Sitter: Chevalier, Maurice Auguste (French, 1888 – 1972) Artist: Kallmus, Dora [Madame d’Ora] (Austrian-Jewish, 1881 – 1963) -
NEWPencil and watercolour on paper 230 x 197 mm, pencil ms inscription in the bottom-left “Schule der Aspasia” 1 (2, 3), monogrammed “P” in the bottom-right, and “Erika Plehn” to verso. Apparently, illustrations for ‘Die Weisheiten der Aspasia’ also known as ‘Die Dirnenschule der Aspasia’ (Aspasia's prostitute school), an erotic novel by Fritz Thurn (Foregger), privately published in Vienna in 1923. Artist: Erika Plehn [née Erika Pinkus] (German, 1904 – 1988) Author: Fritz Thurn [Foregger zum Greiffenthurn] (Austrian, 1877 – 1938). Aspasia of Miletus (Greek, c. 464 BCE – c. 420 BCE) -
NEWFramed pencil and watercolour drawings with 4-line manuscript pen and ink French text under the frame on paper 255 x 175 mm mounted on card stock sheets 290 x 210 mm. Illustrations correspond to the 1st edition of Pierre Louÿs’ « Pybrac / Poésies » published by Cythère Au coq hardi in 1927 [LIB-3061.2022], pp. 25, 37, 64, 69, 85, 86, and 94. Illustrations here are placed in the order they would have appeared in the book.- Je n’aime pas à voir deux sœurs l’une sur l’autre, L’une étendue, ouvrant ses deux cuisses en l’air, Et l’autre qui s’y plonge et s’y frotte et s’y vautre, Corps à corps, ventre à ventre et leurs cons chair à chair.
- Je n’aime pas à voir la douce concubine Qu’on encule toujours et qui, d’un doigt lascif Se branle le bouton, se tire la barbiche, Pour soulager son cul douloureux et passif
- Je n’aime pas à voir cette Sappho mascule Qui, dans sa chambre, habille une fille en garçon, Lui baisse la culotte et froidement l’encule Avec un godmiché plus gros qu’un saucisson.
- Je n’aime pas à voir la vierge au doigt lubrique Qui, les deux pieds en l’air, masturbe sur le lit Son pucelage en rut, gonflé, couleur de brique, Et décharge en baisant le roman qu’elle lit.
- Je n’aime pas à voir le garçon sur la fille Donner des coups au cul et danser le galop Aux applaudissements de toute la famille Qui dit : « Ça vient, putain ! Fais-la jouir, salop ! »
- Je n’aime pas à voir la princesse de Grèce, Qui, menée au bordel par sa fille d’honneur, Frotte sa bouche obscène au cul de la négresse Et crie en déchargeant : « C’est là qu’est le bonheur ! »
- Je n’aime pas à voir dans un bal de familles Que l’hôtesse dispose une chambre d’ami Et des lits de repos, au gré des jeunes filles, Pour sucer leurs danseurs ou se faire mimi.
-
NEWBound in full-colour pictorial wrappers with French flaps, 250 x 190 x 35 mm, 1,311 g by weight, profusely illustrated volume, pp. [1-4] 5-427 [5], 216 leaves total. Title-page: {vignette} | EROS BACCHUS | L'amour et le vin | {publisher's device} || Exhibition at Château Musée du vin et de la vigne, à Aigle, du 24 mai 2014 au 28 février 2015. Text by Michel Froidevaux. Original description : Depuis l'apparition du vignoble, l'amour et le vin sont inséparables. Tantôt boisson des dieux, tantôt breuvage des poètes, le vin a la vertu de rapprocher les êtres. De la riche mythologie antique - Dionysos et Bacchus - aux fêtes des confréries contemporaines, le vin enflamme l'imaginaire et génère de la convivialité. L'idée est de proposer un parcours ludique et culturel, badin et savant pour aller par siècles et contrées à la découverte des plaisirs du boire et des méandres du désir. Livre richement illustré d'un millier d'images (dessins, objets, cartes postales,...) avec la participation d'une quarantaine d'artistes contemporains qui ont créé spécialement une œuvre. Machine translation: Love and wine have been inseparable since the dawn of the vineyard. Sometimes the drink of the gods, sometimes the beverage of poets, wine has the virtue of bringing people together. From the rich mythology of antiquity - Dionysus and Bacchus - to contemporary brotherhood celebrations, wine fires the imagination and generates conviviality. The idea is to offer a playful and cultural journey, both playful and learned, through centuries and lands, to discover the pleasures of drinking and the twists and turns of desire. The book is richly illustrated with some 1,000 images (drawings, objects, postcards, etc.), featuring works by some 40 contemporary artists. -
NEWHardcover volume, 290 x 225 mm, bound in scarlet velveteen with gilt lettering to front and spine, gilt vignette and lettering to back; pp.: [1-8] 9-204 [4], profusely illustrated; text in French and English. ISBN : 2-940127-37-9. Title-page (yellow on red paper): EROS SECRET | OBJETS EROTIQUES A TRANSFORMATION | EROTIC TRANSFORMATION OBJECTS | Photographies et chorégraphie : Véronique Willemin | Photographer and choreography || “The ensemble of 150 objects presented belongs to one single collector. The manner in which the author met him at the airport of Larnaca, then on a yacht in the Mediterranean sea, resembles more a novel by Gérard de Villiers than the preface of a curator but has its own touch of spice” [Art of the day Weekly]. -
NEWHardcover volume, 297 x 256 x 40 mm, glossy pictorial boards, pp. [1-8] 9-428 [4], profusely illustrated, text in French. F.I.N.A.L.E. stands for Foundation Internationale d’Arts et Litératures Érotiques (Foundation of Erotic Arts and Literatures, established on December 12, 1996 in Lausanne, Switzerland. Title-page: éros, | indéfiniment | Collections F.I.N.A.L.E. | { HumuS, publisher’s device} || -
A set of 49 prints, heliogravures and etchings, tipped-in on 285 x 257 mm grey cards, in a green marbled folder with a gilt-lettered black label to the front. No publisher, no place, no year (s.l., s.n., s.d.), printed in circa 1910.- Vlastimil Blažek (Czech, 1878 – 1950): heliogravure, sheet 180 x 137 mm, plate 152 x 114 mm; laid paper, black sepia ink; unsigned.
- Ex libris Gerhard Wunderlich (architect in Dresden): heliogravure, sheet 205 x 150 mm, plate 158 x 115 mm; wove paper, brown sepia ink; inscription: heliogravure, sheet 180 x 137 mm, plate 152 x 114 mm; laid paper, sepia ink; inscription to top “Es ist alles so eng”; signed “F (backwards). Bayros”.
- Ex libris William Lipka: heliogravure, sheet 140 x 125 mm, plate 112 x 98 mm; laid paper, black sepia ink; signature hardly legible.
- Nikolaus Schindler (amateur photographer in Vienna): heliogravure, sheet 142 x 150 mm, plate 110 x 117 mm; laid paper, black sepia ink; unsigned.
- Sussy de Coiquard: heliogravure, sheet 160 x 140 mm, plate 128 x 110 mm; laid paper, black sepia ink; unsigned.
- Illegible, looks like “Vielluer Febréy”: heliogravure, sheet 120 x 109 mm, plate 93 x 85 mm; laid paper, black, sepia ink; signed “F (backwards). Bayros:”.
- Ex libris Erich Liebermann-Rosswiese (Greman-Jewish, 1886 – 1942): heliogravure, sheet 180 x 139 mm, plate 118 x 88 mm; wove paper, black sepia ink; unsigned.
- Ex libris Dr. phil. Rudolf Ludwig: before letters, heliogravure, sheet 150 x 132 mm, plate 120 x 110 mm; laid paper, black sepia ink; unsigned. See [LIB-3258.2023] John Cleland. Die Memoiren der Fanny Hill. — Paphos [i.e. Vienna]: C. W. Stern, 1906.
- Unidentified: before letters, heliogravure, sheet 150 x 115 mm, plate 113 x 88 mm; laid paper, black sepia ink; signed “F. Bayros” in the manuscript. Circumstantial evidence tells that this bookplate belongs to someone A.W.(Artur Wolf). See №22.
- Lulu. Monachia. Gest. v. Ritter Dialekt und Junker Erich: heliogravure, sheet 204 x 152 mm, plate 160 x 118 mm; wove paper, black sepia ink; unsigned. See №20.
- Kellner Jstván: (István): heliogravure, sheet 118 x 100 mm, plate 85 x 70 mm; laid paper, black sepia ink; signed “Franz Bayros” in the script (hardly legible).
- Adyton: heliogravure, sheet 170 x 130 mm, plate 113 x 85 mm; wove paper, black, sepia ink; signed “F (backwards). Bayros”.
- 13.Ex libris George Arthur Buhl (American, 1883 – 1959): heliogravure, sheet 166 x 140 mm, plate 120 x 92 mm; wove paper, black sepia ink; inscription “!I will! | !And I can!”; bust inscribed “T. Carlyle”; signed “F (backwards). Bayros” (hardly legible).
- Ex-Libris Heinrich und Lise Fuhrmann: heliogravure, sheet 165 x 149 mm, plate 120 x 103 mm; wove paper, black sepia ink; signed “F (backward). Bayros”; inscription “So schaff ich am sausenden Webstuhl der Zeit und wirke der Gottheit lebendiges Kleid” (from ‘Faust’ by Goethe).
- Ex libris Gerhard Wunderlich (architect in Dresden): heliogravure, sheet 165 x 137 mm, plate 135 x 105 mm; laid paper, black, sepia ink; signed “F (backwards). Bayros”.
- Ex Libris Walther u. Amelia Fahrenhorst; Walter Fahrenhorst (German, 1871 – 1938): heliogravure, sheet 165 x 140 mm, plate 128 x 95 mm; wove paper, black sepia ink; signed “F. Bayros” in the manuscript. The inscription behind the strings: NITOR (lat. beauty, glamour).
- Ex Libris Margot Lewknecht; heliogravure, sheet 145 x 140 mm, plate 128 x 118 mm; laid paper, black sepia ink; signed “F. Bayros”.
- Ex Libris Walther Heinisch (publisher in Carlsbad); heliogravure, sheet 185 x 145 mm, plate 140 x 110 mm; wove paper, sanguine; male bust with an inscription to the base: “Arnold Boeklin” / Arnold Böcklin (Swiss, 1827 – 1901); inscription: “mit gêru scal man geba infâhan” – a line from Hildebrandslied, the earliest poetic text in German. Unsigned.
- Bookplate with music score GGDBGC; heliogravure, sheet 125 x 135 mm, plate 100 x 110 mm, with monogram «HCJ»; laid paper, brown sepia ink; signed “F. Bayros”.
- Bookplate with inscription: Lulu aus Praga | Gest v. Ritter Dialekt / Monachia / Monachia / und Junker Erich; heliogravure, sheet 182 x 147 mm, plate 160 x 120 mm, image 122 x 105 mm; wove paper, bluish-black sepia ink; unsigned. See №10.
- Bookplate, no inscription; heliogravure, laid paper, sepia ink, sheet 148 x 127 mm, image 84 x 79 mm; signed F. Bayros in the manuscript beneath the image.
- Ex libris Artur Wolf: heliogravure, laid paper, sepia ink, sheet 170 x 150 mm, image 120 x 105 mm; signed F. Bayros in the manuscript to the frame of the image. See №9.
- Ex Libris E. K. Weigl: heliogravure, laid paper, sepia ink, sheet 139 x 121 mm, plate 112 x 97 mm; unsigned; inscription above male portrait: “LEONARDO”.
- Ex libris Dr. A. Bergmann: heliogravure, wove paper, sepia ink; sheet 180 x 140 mm, plate 130 x 105 mm; signed F. Bayros in the manuscript.
- Grete Cäcilie (monogram “PS”): heliogravure, laid paper, sepia ink, sheet 161 x 130 mm, plate 128 x 103 mm, signature illegible.
- Emma Steigleder: heliogravure, laid paper, black ink, sheet 181 x 141 mm, plate 158 x 117 mm, signed F. Bayros in the manuscript. Inscription “Si vis amari, ama! Seneca” [If you want to be loved, love] to the attic of the arch.
- Bruno Fischer: heliogravure, laid paper, sepia ink, sheet 186 x 145 mm, plate 155 x 116 mm, signed “F (backward). Bayros”. Inscription to bottom “Gehl Weck’ ihn nicht auf seien wir froh dass er einmal schläft!”
- Harnasch: heliogravure, wove paper, sepia ink; unsigned; sheet 140 x 132 mm, plate 100 x 85 mm; unsigned.
- Eduard Klampfl: heliogravure, laid paper, sepia ink, sheet 165 x 145 mm, plate 135 x 110 mm, signed “F (backwards). Bayros”; portrait bust of the composer Richard Wagner (German, 1813 –1883).
- Jorge Monsalvatje: heliogravure, wove paper, sepia ink; sheet 189 x 160 mm, plate 150 x 115 mm; signed F. Bayros in the manuscript.
- E. K. W.: wove paper, sepia ink; sheet 150 x 120 mm; signed “Bayros”.
- Unidentified bookplate: wove paper, sepia ink; sheet 150 x 120 mm; signed “F. Bayros 09” in the manuscript.
- Ex-Libris Helene and Emil Lemberger: heliogravure (or soft ground etching), laid paper, sepia ink, sheet 180 x 163 mm, plate 150 x 130 mm, signed “F. Bayros” in the manuscript.
- M. Z.: wove paper, sepia ink; sheet 130 x 170 mm, plate 90 x 120 mm; signed “F (backwards) Bayros”.
- Ex libris Frankl Frigyes Vilmos: heliogravure (or soft ground etching), laid paper, sepia ink, sheet 140 x 148 mm, unsigned. Frigyes Frankl, born in Tejfalu, Szlovákia, died in 1943.
- Ex libris Anton Bürck: heliogravure, wove paper, sepia ink; sheet 170 x 137 mm, plate 123 x 104 mm; unsigned. Anton Burck (German,1881 – 1951) of Palatinate, Bavaria.
- Aus den büchern A. W.: heliogravure, laid paper, sepia ink, sheet 152 x 136 mm, plate 120 x 105 mm, signed “F. Bayros” in the manuscript.
- Ex libris Hans Hickl: heliogravure, laid paper, sepia ink, sheet 150 x 125 mm, plate 115 x 95 mm, signed “Ω”.
- Ex libris Karl Wehle: soft ground etching, laid paper, brown sepia ink, sheet 107 x 90 mm, plate 80 x 65 mm, inscription “Gut!” in the centre; unsigned. Karl Wehle (Austrian, 1901 – 1933)
- Ex libris Dr. Paul Berger: etching, laid paper, black ink, sheet 140 x 115 mm, plate 115 x 85 mm, signed “F (backwards). Bayros”.
- Unidentified bookplate: etching, laid paper, black ink, sheet 145 x 115 mm, plate 85 x 70 mm, unsigned.
- Ex Bibliotheca Erotica Carl Georg von Maassen: soft ground etching, india paper, black ink, sheet 76 x 78 mm, signed “FB”.
- Ex Bibliotheca Erotica Carl Georg von Maassen: soft ground etching, india paper, black ink, sheet 79 x 79 mm, signed “F. von Bayros”.
- Paul Mixa: soft ground etching, laid paper, sanguine ink, sheet 122 x 111 mm, plate 90 x 85 mm, inscription: “Gerne hör’ich wenn du singest und ich horche wenn du schweigest” [I like to hear when you sing and I listen when you are silent].
- Ex libris Drs Q. M. Vyskocil.: etching, laid paper, sanguine ink, sheet 141 x 115 mm, plate 115 x 75 mm, inscription: “MIT REINEN HAENDEN” [with pure hands], signed “F. Bayros” in the manuscript.
- Ex libris Andrée Bearn de Riquer: soft ground etching, laid paper, sanguine ink, sheet 136 x 88 mm, plate 100 x 62 mm, signed “F (backwards). Bayros”. Andrée Béarn [Marguerite Laborde] (French, 1880 – 1973), spouse of Alexandre de Riquer (Catalan, 1856 – 1920).
- Ex musicis Drs Blažek VL: etching, wove paper, sanguine ink, sheet 141 x 116 mm, plate 115 x 90 mm, inscription: “MIT REINEN HAENDEN” [with pure hands], signed “F. Bayros” in the manuscript. See Vlastimil Blažek (Czech, 1878 – 1950) № 1 in this series.
- Ex libris Paul Lindenberg: etching, wove paper, sanguine ink, sheet 130 x 114 mm, plate 95 x 90 mm, image 80 x 72 mm, inscription: “ad pios usus” (for pious uses); signed with monogram “F (backwards). B”.
- Unidentified bookplate: heliogravure, laid paper, sanguine ink, sheet 150 x 131 mm, plate 120 x 100 mm, signed “F. Bayros” in the manuscript.
-
NEWHardcover, 240 x 192 mm, glossy pictorial boards, lettering to front and spine, pp.: [1-5] 6-171 [172], with 308 plates in colour and b/w. Catalogue of the exhibition held on March 26 – June 1, 1980, at Museum für Kunst und Gewerbe in Hamburg. Title-page: DOKUMENTE DER PHOTOGRAPHIE 1 | FRITZ KEMPE | NICOLA PERSCHEID | ARTHUR BENDA | MADAME D'ORA | Katalog bearbeitet | von Odette M. Appel-Heyne | MUSEUM FUR KUNST UND GEWERBE HAMBURG 1980 || Contributors: Kempe, Fritz (German, 1909 –1988) – author Appel-Heyne, Odette M. – editor Kallmus, Dora [Madame d’Ora] (Austrian-Jewish, 1881 – 1963) – photographer Perscheid, Nicola (German, 1864 – 1930) – photographer Benda, Arthur (German, 1885 – 1969) – photographer -
NEWUnbound, unpaginated volume in illustrated French flapped wrappers, 360 x 270 mm, printed on mother-of-pearl Japanese paper, collated 154 + 142, 60+28, 44 leaves in-folio, folded in half, profusely illustrated with original colour lithograph, in a grey cloth clamshell box (390 x 290 x 90 mm) with inside pocket for CD (lacking), embossed vignette to front; limited edition of 284 copies, signed copy № 59 of 50 copies printed on Japon Nacré paper numbered 30-80. Includes 13 double-page colour plates signed by the artist, enriched with an original watercolour drawing on the back of the title-page, with autograph dedication "A Monsieur et Madame Kuhn Amicalement A Bonnefoit". Title-page (black and sanguine): GEORGES BRASSENS | VÉNUS | CALLIPYGE | Préface de Pierre Louki | Lithographies originales de | Alain BONNEFOIT | ÉDITIONS LATOUR – MARTIGNY || Colophon : Achevé d'imprimer | le 8 novembre 1993 | sur les presses de Pierre Jean Mathan | Boulogne-sur-Seine. | Les lithographies ont été tirées | dans les ateliers de Jean-Claude Perrin | Arts-Litho à Paris. | L'emboitage est de Piero Dallai | à Forence. || Deluxe edition of a collection of 13 songs by Brassens, illustrated with more than thirty original lithographs by Alain Bonnefoit, Contributors: Alain Bonnefoit (French, b. 1937) – artist Georges Brassens (French, 1821 – 1981) – author poetry Louki, Pierre (French, 1920 – 2006) – author preface Éditions Latour (Martigny) – publisher Pierre Jean Mathan (Boulogne-sur-Seine) – printer Jean-Claude Perrin, Arts-Litho (Paris) – lithorgapher Piero Dallai (Forence) – slipcase -
NEWHardcover, 244 x 205 mm, red quarter morocco over marbled boards, gilt lettering and raised bands to spine, marbled endpapers, original wrappers 235 x 190 mm preserved. Collated 4to: 3 ffl, front wrapper2, blank4, h.t./imprint6, frontis.8, t.p.10, 1-234, blank196, back wrapper198, 3ffl; pp.: [1-11] 12-186 [12], plates and wrappers within collation. Total number of leaves from wrapper to wrapper 198 (190 per Vokaer). Title-page (brown and black): Tableaux Contemporains – no 6 | TABLEAU | de | LA MODE | par | GEORGES-ARMAND MASSON | illustré | de vingt et une gravures à l'eau-forte | et de onze lithographies en couleurs | par | MARCEL VERTÈS | PARIS | ÉDITIONS DE LA NOUVELLE REVUE FRANÇAISE | 3, rue de Grenelle || Front wrapper: same as t.p., framed. Back wrapper: advert. dans la même collection, framed. Imprint: Un exemplaire sur japon impérial (A), 6 exemplaires sur japon impérial (B-E), 15 exemplaires sur japon impérial (F-T), 320 exemplaires sur vélin pur fil Lafuma-Navarre (dont 20 exemplaires hors commerce), numérotés de 1 a 300 et de I a XX. Exemplaire no 238. Tous droits de reproduction el de traduction réserves pour tous les pays, y compris la Russie. Copyright by Librairie Gallimard, 1926. Colophon: CE VOLUME, | LE SIXIEME DE LA COLLECTION DES | TABLEAUX CONTEMPORAINS, | A ÉTE ACHEVE D’IMPRIMER | LE DIX MAI MIL NEUF CENT VINGT-SIX : | POUR LE TEXTE, | PAR LE MAITRE IMPRIMEUR COULOUMA, A ARGENTEUIL, | H. BARTHELEMY ETANT DIRECTEUR, | ET POUR LES GRAVURES, | PAR CLOT, LITHOGRAPHE | ET HAASEN, IMPRIMEUR EN TAILLE-DOUCE | A PARIS || Limited Edition: 22 copies printed on Japon Impérial paper marked letters A to T enriched with suites of plates and original drawings; 20 copies marked I to XX on Vélin pur fil Lafuma-Navarre paper not for sale, and 300 commercial copies on the same paper, numbered 1 to 300, of which this is copy № 238. Total number of copies 342. Catalogue Raisonné: Vokaer № 14, p. 10. Contributors: Masson, Georges-Armand (French, 1892 – 1977) – author Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist Clot, Auguste (French, 1858 – 1936) – lithography Haasen, Paul (French, d. 1944) – etchings -
NEWA gold ring with a raised oval face featuring an inlaid blue glass dolphin. Dimensions: 17.7 x 18.8 mm; weight: 4.2 g. US ring size: 4.25. Gold Quality: 96.29% (<23 kt). -
NEWThe intaglio depicts the ancient Greek god Eros looking into a mirror, which he holds in his left hand. Dimensions: 26 x 21 x 20 mm; weight: 11 g. US ring size: 4.25. High-karat gold. Ref.: J. Ogden, A Golden Past: Jewelry from the Ancient World (Catalogue), 1990, p. 10, no. 26 (not seen). -
Hardcover volume, 19 x 13 cm, grey cloth with gilt lettering to spine, grey/cream dust jacket lettered throughout, price “10s 6d | NET” unclipped. Covers rubbed, dust jacket has a purple ink stain on the back bottom. Black ink inscription to recto ffl. Collation: a-o8 p10, total 122 leaves; pp.: [6] 1-237 [238]. 1st edition, 1st issue / Great Britain. Title-page: THE END OF THE | AFFAIR | by | GRAHAM GREENE | {publisher’s device} | — | WILLIAM HEINEMANN LTD | MELBOURNE :: LONDON :: TORONTO || Imprint: FIRST PUBLISHED 1951 | PRINTED IN GREAT BRITAIN | AT THE WINDMILL PRESS | KINGSWOOD, SURREY || Dedication: To C. (Catherine Walston, nee Crompton, American, 1925 – 1978) Contributors: Graham Greene (British, 1904 – 1991) William Henry Heinemann (Jewish-British, 1863 – 1920) -
Snuff bottle in the form of Fo (or Fu) dog (lion-dog) guarding a cub carved of tourmalinated quartz with lapis lazuli and serpentine stopper. Late 19th century. Dimensions: L81 x W59 x H19 mm. -
Large inside-painted glass snuff bottle with a mountain landscape design, signed and sealed Wu Chen Zuo, with a serpentine stopper. Mid-20th century. Dimensions: H105 x W61 x D27 mm. -
NEWHardcover, 280 x 121 mm, glossy white pictorial cover with mahogany lettering, pp. [1] 2-210 [2]. Lettering on the cover: ITŌ MITSURU | NOBUIE-TSUBA | {vignette} | TRANSLATED BY MARKUS SESKO || Title-page: Nobuie Tsuba | 信家鐔 | Itō Mitsuru (伊藤満) | translated by Markus Sesko | © 2016 Itō Mitsuru | Copyright translation: Markus Sesko | Print and Publishing: Lulu Press, Inc. || -
Jadeite snuff bottle carved with shou character and foo dog handles, with a black collar and jadeite stopper carved with a blossom design. Late 19th century. Dimensions: H74 x W39 x D26 mm -
NEWThin plate iron tsuba of round form with a military commander's fan (gunbai) design in openwork (sukashi); Ko-tosho school. Kamakura period (1185 – 1333), 13th to early 14th century (according to Nakamura Tessei). Dimensions: 91.2 x 89.5 mm, thickness: 1.5-2.5 mm. Provenance: Patrick Liebermann Collection. Reproduced in the exhibition catalogue Samurai. Guerriers et esthètes, BNU, Strasbourg, March 11 – July 13, 2022, №045, p.91 and in Patrick Liebermann, Tsuba. Itinéraires d'une collection, 2016, №72, p.111. Reference: a similar tsuba reproduced in LIB-3304.2024 (see below) and in this collection TSU-0332.2017 (provenance Sasano Masayuki).
Tsuba Collection (Tsuba shūsei, 鐔集成) by Nakamura Tessei (中村鐵青), p.36, fig. 12.
-
NEWHardcover, 330 x 255 mm, marble paper, two labels of black calf with gilt lettering to spine, 2 blank leaves at front and 2 at back (laid paper), two leaves of lithographic vignettes (t.p. and limitation), plus 20 lithographic plates signed “am”, unpaginated. Limited edition of 25 copies on Japon Impérial paper №№ 1-25, 300 copies on Vélin d’Arches №№ 26-325, of which this is copy № 206. Stones sanded. A poem by Verlaine at p. 2 recto. Title-page: L'Académie | DES | Dames | VINGT ATTITUDES PAR | ALBERT MARQUET | {vignette} | NEW YORK | SIXTY-NINTH AVENUE || Imprint: ÉDITION PRIVÉE | EXEMPLAIRE NUMERO 206 Limitation: JUSTIFICATION DU TIRAGE | IL A ÉTÉ TIRÉ DE CET OUVRAGE | VINGT-CINQ EXEMPLAIRES SUR JAPON IMPÉRIAL | NUMÉROTÉS DE 1 à 25 | ET TROIS CENTS EXEMPLAIRES SUR VÉLIN D'ARCHES | NUMÉROTÉS DE 26 à 325 | PIERRES BIFFÉES || Catalogue raisonné: Dutel III № 949; Nordmann I № 255. Provenance: From the collection of Hans-Jürgen Döpp, Frankfurt. Contributors: Albert Marquet (French, 1875 – 1947) Verlaine, Paul (French, 1844 – 1896) One additional lithographic plate by Marquet from a different source but on a similar subject is laid in.
