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Magazine article by Edgar Jepson: The Iron Tsuba of Japan (Section: Oriental Art), published in volume Vol. 70 (September–December) of The Connoisseur: An Illustrated Magazine for Collectors, Vol. 70 (September–December); pp. 143-152 / C. Reginald Grundy [ed.] — London: Published by the Proprietor, W. CLAUSE JOHNSON, at the Editorial and Advertisement Offices of The Connoisseur, 1924. Owner's half black morocco, gilt lettering to spine, blue cloth boards. Two volumes bound together without original covers. Size 28.5 x 22 cm. Vol. 1: The Connoisseur | An Illustrated Magazine | For Collectors | Edited by C. Reginald Grundy | Vol. LXIX. | (MAY—AUGUST, 1924) | LONDON | Published by the Proprietor, W. CLAUSE JOHNSON, at the | Editorial and Advertisement Offices of The Connoisseur, | at 1, Duke Street, St. James's, S.W. 1 | 1924 || Pp.: [i-ii] iii-xviii [xix] [1, 2 - plate] 3-249 [250]. Vol. 2: The Connoisseur | An Illustrated Magazine | For Collectors | Edited by C. Reginald Grundy | Vol. LXX. | (SEPTEMBER—DECEMBER, 1924) | LONDON | Published by the Proprietor, W. CLAUSE JOHNSON, at the | Editorial and Advertisement Offices of The Connoisseur, | at 1, Duke Street, St. James's, S.W. 1 | 1924 || Pp.: [i-ii] iii-xxii [2 blanks] [1, 2 - plate] 3-261 [262]. The Iron Tsuba of Japan by Edgar Jepson The heart of Japan was in the sword. However admirable may be the paintings, the prints, the netsuke, the lacquer, or the bronzes of the Japanese masters, the supreme artistic achievements of Japan were the blades of Masamune, Muramasa, Sadamune, and Rai Kunitsugu. But not a little of the heart of Japan went also in the tsuba, the guard which protected the hand that wielded the blade, into the iron tsuba of the fighting Samurai. Beside the forgers of the iron tsuba of Japan the ironsmiths of the rest of the world have been mere children. The earliest tsuba were of bronze or copper, often gilded. It is probable that they were replaced by iron tsuba during the Kamakura period, the great fighting era, which lasted from A.D. 1185 to 1333. During the later half of the twelfth century leather tsuba, strengthened by thin iron plates or a metal rim, also replaced the bronze and copper tsuba. It was at this time that a family of armourers of the name of Masuda, and in particular Masuda Munesuke, the founder of the Myochin family, began to forge iron tsuba — thin, round plates of great hardness and density. But it is probable that no tsuba perforated with a view to decorative effects were forged before the end of the fourteenth century. These fourteenth-century tsuba are exceedingly rare in England. I have seen none in the museums, none in the famous collections that have been sold during the last ten years. Those photographed in Herr Oeder's book might easily be the fifteenth century. No. 1 is a curious cup-shape tsuba decorated with a bronze and copper inlay. No. 2, with its edges curiously twisted in the forging, looks like Myochin work. But it is not of the Myochin iron. The Myochin family produced some of the greatest ironsmiths of Japan. Armourers first of all, tsubasmiths, forgers of sake-kettles, articulated reptiles, crustacea, and insects — everything that can be done with iron they did; they pushed their medium to its limit. They were forging iron tsuba in 1160, and they were still forging them in 1860. And it was their own iron, or rather their own steel. They discovered the secret of it early, and they kept that secret in the family for all those hundreds of years. There is no mistaking a Myochin tsuba: balance it on your finger and tap it with a piece of metal, always it gives forth a clear bell-like ring that you get from the work of no other ironsmith, Japanese or European. Always the Myochin tsuba is before everything a protection to the hand of the swordsman; to that everything is, as it should be, subordinated. No. 3 is a Myochin tsuba of the fifteenth century, and probably of the early fifteenth century. No. 4, by Myochin Munetaka, perforated with a grotesque figure, is an example of that twisting and twisting of the iron in the forging till it forms a pattern like the grain of wood. The Myochin smiths invented these wood-grain tsuba, and no other smiths equalled them in their forging. In the sixteenth century, the fighting tsuba was probably at its best. It was a century of great tsubasmiths. Then the first Nobuiye, whose tsuba fetched £100 apiece, circa 1800, in Japan, and the first Kaneiye flourished. No. 5 is a tsuba forged by a great smith, Iyesada of Sotome, in the manner of Nobuiye I, decorated with the karakusa tendrils that Nobuiye delighted in, with lightning and clouds. No. 6 is a guard of Sanada Tembo, the chief smith of the Tembo family, stamped, punning fashion, with the character Tembo. Akin to the Tembo tsuba were those of the Kiami and Hoan smiths. Then also the Heianjo smiths and the Owari smiths, especially those of Nagoya and the Yamakichi family, forged their strongest tsuba. Those of the Yamakichi were tested after the forging by being pounded in iron mortars — at least, so the legend runs. But they were a sternly utilitarian family, and I have never seen a Yamakichi tsuba of any beauty. In the later half of the fifteenth century arose the fashion of decorating tsuba with an inlay, zogan, of bronze. The Heianjo tsuba, forged at Kyoto in the latter half of the fifteenth and the beginning of the sixteenth century, were often thus inlaid. The earliest of them were called "Onin", of which No. 7 is an example. In addition to the bronze inlay around the edge, it is inlaid with a representation, some say, of snow; others say, of the duckweed on a pond. No. 8 is probably a Heianjo tsuba, but I am not quite sure about it. The inlaid acacia branches might be very early Shoami work. But to judge by the iron, it is a fifteenth-century tsuba; and the authorities place the beginning of the Shoami school not later than early in the sixteenth century. No. 10 is an example of the Fushimi-zogan, a flat inlay of a light-coloured bronze. These tsuba took their name from the fact that they were first forged at Fushimi, in Yamashiro, in the sixteenth century. It is of the type known as Mon-zukashi, perforated with crests (mon) à jour. The Yoshiro-zogan tsuba were also first forged at Fushimi by Yoshiro Naomasa. They were distinguished from the Fushimi-zogan by the fact that their inlay was generally a little raised-not always-for the inlay of No. 9, a tsuba forged by a later nineteenth-century Yoshiro, is quite flat. It is an interesting tsuba, for, with its decoration grown florid and excessive, it marks the intermediate stage between the simple and delightful designs of the genuine fighting tsuba and the elaborate pictures in gold and silver on the tsuba of the eighteenth-century smiths of Awa and Kyoto, which have become mere ornaments of the goldsmith. The Gomoku-zogan (No. 11) tsuba were probably first forged earlier than the Fushimi and Yoshiro-zogan tsuba. This inlay, in slight relief, is a representation in a light-coloured bronze and copper of twigs caught in the eddies of streams. The seventeenth century and early eighteenth century were the great periods of perforated tsuba. The designs, and they are often admirable, are for the most part in plain fretwork; but they are also chased. No. 12, a crane under an acacia, is a tsuba of a Higo smith, great forgers of fighting tsuba during this period. These smiths also excelled in nunome zogan, a very thin gold and silver inlay, with which they further decorated their perforated guards. The smiths of the Umetada and Shoami families also forged iron tsuba during this period; but their designs, though sometimes pleasing enough, are rarely fine. The best work of Myoju Umetada is in sentoku, not iron. The Choshu smiths, coming later, surpass the perforated guards of both the Umetada and Shoami smiths in beauty of design. No. 13, a lotus in the round, not only fretwork, but also engraved, is a good example of the admirable balance they so often attained in their designs. It is a sufficiently realistic lotus, but yet of a delightful simplicity. In considerable contrast is No. 14, the dragon by Soheishi Soten — one of the only two authentic tsuba of his forging known — the first forger of hikone-bori tsuba, which were in extraordinary favour in Japan during the eighteenth century, and illustrated every important event in Japanese history. It is on the elaborate side, but fine, strong work, and an excellent guard to the hand, for the lighter and more open part, which gives the design its admirable balance, is on the inside, and not exposed to the full swing of an opponent's blade. A few years ago there was a tendency to decry the Namban tsuba as having sprung too directly from foreign sources. But though the original suggestion may have been Chinese, or, as some say, Portuguese, the Japanese made it entirely their own, as characteristically Japanese as anything can well be, but, it must be admitted, of a decadent period. The school took its rise at the beginning of the seventeenth century, and the early tsuba were forged of a specially hard iron, the Wootz, imported from Southern India. No. 15, the signs of the Zodiac, is an excellent tsuba from the fighting point of view. Both it and No. 16 are of quite charming, if elaborate, design, and both of them, with their delicate scroll-work, so astonishingly undercut, are the very last word in the work of the ironsmith-veritable iron lace. To return to the simpler perforated tsuba, the smiths of Akasaka, a suburb of Tokyo, produced probably the most charming designs. Their style derives considerably from the Higo smiths, and their earlier fighting tsuba are very like the Higo tsuba. But always their work was just a little lighter than that of the Higo smiths, and in the end they moved right away from them and became the forgers of very light guards indeed. No. 17, is a representation of the Hiyokudori, the fabulous double bird, in which were reincarnated the souls of the two lovers, Gompachi and Komurasaki; and No. 18, “the tsuba of a hundred ducks "— there are about forty — are characteristic designs of the school. In the work of the Akasaka smiths the balance, which makes the design of a good tsuba so admirable and delightful, attains its height. This admirable balance seems often to be obtained by a deliberate sacrifice of symmetry. About nine hundred and ninety-nine European ironsmiths out of a thousand would have made the right and left sides of the Hiyoku-dori line by line, and perforation by perforation, exactly alike; he would have cut out exactly as many ducks on the one side of “the tsuba of a hundred ducks” as on the other, and made each duck on the right side correspond exactly in position and attitude with a duck on the left side. By variations the tsubasmith attained a finer balance, almost a higher symmetry. No. 19, often called by collectors the "rose-window" tsuba, but really a stylised chrysanthemum, is a favourite design of the Akasaka smiths, but Hizen work and inlaid in the Hizen manner with gold nunome. No. 20 is a Satsuma tsuba of the middle period. The Satsuma smiths of the nineteenth century produced probably the most ornate of all the iron guards, for the most part calibashes and beans with their leaves and tendrils realistic in the extreme, but of charming design. Few crafts have been carried further than that of the tsubasmith; few crafts working in a difficult medium have handled more subjects with greater feeling for beauty or greater liveliness of fancy. It is interesting to note again and again how school influences school, and smith influences smith. But, as in all the applied arts, the finest tsuba were forged by men who never lost sight of the purpose of a tsuba, that it is before everything a protection to the hand, and never subjected that purpose to a passion for virtuosity. Illustrations: No 1. FOURTEENTH-CENTURY TSUBA, WITH BRONZE AND COPPER INLAY No. 2. FOURTEENTH-CENTURY TSUBA, RESEMBLING MYOCHIN WORK No. 3. MYOCHIN TSUBA, FIFTEENTH CENTURY No. 4. MYOCHIN TSUBA, NINETEENTH CENTURY No. 5. SIXTEENTH-CENTURY TSUBA No. 6. SIXTEENTH-CENTURY TSUBA BY IYESADA OF SOTOME BY SANADA TEMBO No. 7. ONIN TSUBA No. 8. HEIANJO (?) TSUBA No. 9. YOSHIRO TSUBA, NINETEENTH CENTURY No. 10. FUSHIMI-ZOGAN, NINETEENTH CENTURY No. 11.- GOMOKU-ZOGAN, SIXTEENTH CENTURY No. 12. HIGO TSUBA, SEVENTEENTH CENTURY No. 13. CHOSHU TSUBA, SEVENTEENTH CENTURY No. 14. SOTEN TSUBA, SEVENTEENTH CENTURY No. 15. NAMBAN TSUBA, EIGHTEENTH CENTURY No. 16. NAMBAN TSUBA, NINETEENTH CENTURY Nos. 17. AND 18. AKASAKA TSUBA, EIGHTEENTH CENTURY No. 19. HIZEN TSUBA, EIGHTEENTH CENTURY No. 20. SATSUMA TSUBA, EIGHTEENTH CENTURY -
Title: REFLECTIONS | ON THE | REVOLUTION IN FRANCE, | AND ON THE | PROCEEDINGS IN CERTAIN SOCIETIES | IN LONDON | RELATIVE TO THAT EVENT. | IN A | LETTER | INTENDED TO HAVE BEEN SENT TO A GENTLEMAN | IN PARIS. | BY THE RIGHT HONOURABLE | EDMUND BURKE. | — | {in lozenges} THE SECOND EDITION. | —| LONDON: | PRINTED FOR J. DODSLEY, IN PALL-MALL. | M.DCC.XC. || Pagination: [4 blanks] [i-iii] iv, 1-356 [4 blanks]. Collation: 8vo; π2 B-Z8, Aa2. Binding: Quarter calf with marbled boards, gilt fillets, red label with gilt lettering to spine. "King John Haggerston, 1790" handwritten ink inscription to front endpaper, t.p. and p. iii. Seems like Sir John Haggerston, 9th Baronet. -
Title: REFLECTIONS | ON THE | REVOLUTION IN FRANCE, | AND ON THE | PROCEEDINGS IN CERTAIN SOCIETIES | IN LONDON | RELATIVE TO THAT EVENT. | IN A | LETTER | INTENDED TO HAVE BEEN SENT TO A GENTLEMAN | IN PARIS. | BY THE RIGHT HONOURABLE | EDMUND BURKE. | — | {in lozenges} THE THIRD EDITION. | —| LONDON: | PRINTED FOR J. DODSLEY, IN PALL-MALL. | M.DCC.XC. || Pagination: [i-iii] iv, [1] 2-364, total 368 pages. Collation: 8vo; π2 B-Z8 Aa6 (plus one blank flyleaf in the front and one in the back), total 184 leaves. Binding: 23 x 14.5 cm, publisher’s paper-backed binding in blue boards with handwritten title to spine (illegible), laid paper, margins untrimmed. Housed in a modern brown cloth clamshell box with brown gilt-lettered label. Note: The second edition same year has a total of 360 pages (iv, 356); see LIB-2590.2021. Inscription to title page: Philip [ON THE] Williams Penpont – that is probably of Philip Williams Esq., of Penpont, Breconshire, Wales. (c. 1742 – 1794). -
Title page: ITALIAN | RENAISSANCE | MAIOLICA | ELISA P. SANI | with a preface by J.V.G. Mallet and | contributions from Reino Liefkes | V&A PUBLISHING || Pagination: [1-6] 7-192, ils. Binding: Black cloth, gilt lettering to spine; pictorial DJ. Mint/New. Size: 27.7 x 22.2 cm. -
Hardcover, 23.5 x 23.5 cm, publisher's navy cloth, gilt-stamped lettering to spine, pictorial DJ; pp.: [1-6] 7-143 [144 blank].Japanese woodblock prints of the Edo period (1615-1868) were the products of a highly commercialised and competitive publishing industry. Their content was inspired by the vibrant popular culture that flourished in Edo (Tokyo). At any given time scores of publishers competed for the services of the leading artists of the day. Publishers and artists displayed tremendous ingenuity in finding ways to sustain demand for prints and to circumvent the restrictions placed on the industry through government censorship. Although Japanese prints have long been appreciated in the West for their graphic qualities, their content has not always been fully understood. This book draws on recent scholarship that makes possible a more subtle appreciation of the imagery encountered in the prints and how they would have been read when first made. Through stunning new photography of both well-known and rarely published works in the collection of the British Museum, including many recent acquisitions, the author explores how and why such prints were made, providing a fascinating introduction to a much-loved but little-understood art form.
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One volume in-4o, 26.5 x 21 x 4.4 cm, bound by Durvand (signed) in yellow ¾ morocco over marbled boards outlined in gilt, spine with raised bands, gilt lettering, vignettes after Félicien Rops in compartments, top margin gilt, marbled endpapers, publisher’s wrappers preserved; enriched with 57 original prints after Félicien Rops and an etched portrait of Félicien Rops by Robert Kastor. Collation: 3 blanks, π4 (orig. front wrapper ‘En souscription…./Etudes sur…’, La tentation…/Érastène Ramiro..., h.t./justification, t.p/blank), 1-274 (paginated 1-215 [216]) χ2 plus 58 leaves of bound-in original prints by various printers on different papers, some on India paper pasted on vergé, with tissue guards, and 1 leave of manuscript ‘Table de gravures dans le texte’; back wrapper with ‘Table des gravures ajoutées’ manuscript to recto, original spine, 2 blanks. Title-page (red and black): Études sur quelques Artistes originaux | — | FÉLICIEN ROPS | par | ÉRASTÈNE RAMIRO | {fleuron} | PARIS | (left): G. PELLET | 51, Rue Le Peletier, 51 | (right): H. FLOURY | 1, Boulevard des Capucines, 1 | 1905 || Limitation: 125 copies, of which 100 copies on Japon à la forme and 25 copies 0n papier de Chine. Photographs here represent the original prints only. Contributors: Eugène Rodrigues-Henriques [Eugène Rodrigues, Erastène Ramiro] (French, 1853 –1928) – author. Félicien Rops (Belgian, 1833 – 1898) – artist. Robert Kastor (French, 1872 – 1935) – artist. Imprimerie Charles Hérissey (Évreux) – printer Gustave Pellet (French, 1859 – 1919) – publisher. Henri Floury (French, 1862 –1961) – publisher. Lucien Durvand (French, 1852 – 1924) – bookbinder. -
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]. -
Description: Hardcover volume bound in red cloth with black lettering to front cover and spine, in a red dustjacket with black lettered, bookplate to front pastedown “ from the library of | DAVID. D. LEVINE | Militaria” in triple fillet frame, bookseller’s label to front fep “CHAS. E. LAURIAT CO. | IMPORTERS & BOOKSELLERS | 385 Wash’n St. Boston”. Title-page in red and black: MY DAYS OF ADVENTURE | THE FALL OF FRANCE, 1870-71 | BY ERNEST ALFRED VIZETELLY | LE PETIT HOMME ROUGE | AUTHOR OF “THE COURT OF THE TUILERIES 1852-70” ETC. | {publisher’s device} | WITH A FRONTISPIECE | LONDON | CHATTO & WINDUS | 1914 || Pagination: [2] advert., [i-vii] viii-xi [xii] [2] contents/blank, [1] 2-337 [338] [2], 340 pages total plus photo frontis. Collation: [A8] B-Y8 Z2, 170 leaves total plus one leaf of plates. Provenance: David D. Levine Contributors: Ernest Alfred Vizetelly (British, 1853 – 1922) – author. Charles E. Lauriat Company, Booksellers and Importers, Boston, Massachusetts. Charles Emelius Lauriat, Jr. (American, 1874 – 1937) – collector of rare books and prints Chatto & Windus (London) – publisher. David Daniel Levine (Australian, 1944 – 2020) – Australian judge and book collector -
ERNEST HEMINGWAY | A Moveable Feast | {Citation} | CHARLES SCRIBNER'S SONS, | New York || Pagination: [12] – incl: advert., h.t., t.p., colophon, contents, preface, and note, [1, 2] - f.t. / blank, 3-211 [212]. Publisher’s cloth-backed stamped boards, original dust jacket. Ref.: Hanneman A31a. -
Title page: ACROSS THE RIVER | AND | INTO THE TREES | BY | ERNEST HEMINGWAY | CHARLES SCRIBNER'S SONS | NEW YORK | 1950 || Pagination: [12] 1-308; total 160 leaves. Binding: black cloth, gilt Hemingway's fac-simile to front board, lettering to spine, pictorial dust jacket designed by A. Ivancich; $3.00 price clipped from top of front flap. Bookplate of Feodor Rojankovsky to front pastedown. Size: 21.5 x 15 cm. Edition: 1st edition, 1st printing; DJ with yellow on spine (later copies have orange); letter “A” and the Scribner’s device to copyright page. Provenance: Rojankovsky, Feodor [Rojan; Рожанковский, Фёдор Степанович] (Russian-American, 1891 – 1970) Contributors: Ernest Hemingway (American, 1899 – 1961) – author. Adriana Ivancich (Italian, 1930 – 1983) – artist of the dust jacket (Ivancich inspired the figure of Renata in the novel). Charles Scribner's Sons – publisher. -
Description: One volume 32.5 x 25.5 cm, in crimson cloth, blind lettering to front cover and spine, pictorial DJ, lettered (similar to t.p.) in the back. Pagination: [2 blank] [1-9] 10-337 [338] [4] [4 notes], total 174 leaves, 137 entries. Title-page (in red and black): Eros invaincu | LA BIBLIOTHÉQUE GÉRARD NORDMANN | Florilège | établi sous la direction de Monique Nordmann | commente par Laurent Adert • Saba Bahar • Françoise Bléchet • Arto Clerc | (5 more lines of names) | & | édité par Rainer Michael Mason | FONDATION MARTIN BODMER | EDITIONS CERCLE D'ART | GENÈVE • MMIV • PARIS || Gérard Nordmann (Swiss, 1930 – 1992) Bibliothèque érotique: Gérard Nordmann; Livres, manuscrits, dessins, photographies du XVIe au XXe siècle / Catalogues de ventes (two parts) — Paris: Christie’s, 2006, see LIB-2828.2021 and [LIB-2810.2021]. -
Hardcover 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]. -
Hardcover 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} || -
NEWHardcover, 188 x 118 mm, brown half-morocco over burgundy faux-chagrin, spine with raised bands and burgundy label with gilt lettering, gilt fleurons in compartments, floral diaper endpapers, collated 8vo:ffl, π2 1-138, ffl, pp. [4] 1-207 [208], plus frontispiece portrait and 8 unnumbered leaves of plates, etchings, one of them hand-coloured; limitation to half-title verso: "Tirage a 300 exemplaires". The title page is loose. Each gathering has 4 'tall' pages (1, 2, 7, 8 - 181 mm) and 4 'short' (3, 4, 5, 6 - 165 mm). Two parts are in one vol., signed and paged continuously; the second part has its own half-title and title pages. "Fin de première partie" at p. 107 (76), part 2 h.t. at 77, part 2 t.p. similar to the main t.p. but in black only at 78. The portrait of Étienne de Jouy was possibly engraved by Charles Monselet (French, 1825 – 1888) after Julien-Léopold Boilly (French, 1796 – 1874). Title-page (red and black): LA GALERIE | DES | FEMMES | COLLECTION INCOMPLÈTE DE HUIT TABLEAUX | RECUEILLIS PAR UN AMATEUR | L'amour est le roman du cœur | Et le plaisir en est l'histoire. | BEAUMARCHAIS. Folle journ. | — | A HAMBOURG | – | 1799 Compare to Dutel: 8 plates instead of 9; no two-page text “Nous espérions joinder à ce livre une notice…” before Deux mots de préface, the word FIN on p. 207 instead of 203, no table of contents at the end; no imprint Bruxelles. — Imp. de J. H. Briard, rue des Minimes, 51, on the same page as Table, signed 15. Dutel: № A-456, p.148:- In-8 (18,4 x 11) de (2 ff.), II, 203 pp., 1 ff. de table, couv. jaune imp. en rouge.
- Édition publiée à Bruxelles en 1869 par J.-P. Blanche. Elle est ornée de 9 gravures et d'un facsimilé de l'écriture de Monselet, qui n'est pour rien dans ce volume.
- Tirage : 300 exemplaires.
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Title page: PARIS | À TABLE | PAR | EUGÈNE BRIFFAULT. | Illustré par Bertall. | {vignette} | PARIS | PUBLIÉ PAR J. HETZEL, | RUE DE RICHELIEU, 76 — RUE DE MÉNARS, 10 | 1846 || Pagination : ffl, [2] – h.t. / imprim., [2] – wood-engraved pictorial t.p. bt Bertall, [2] – t.p. / blank, [i] ii-iv, 2] – f.t. / imprim., [1] 2-184, ffl; in-text woodcuts by Betrall. Collation: π6 1-462; size 8vo. Binding: brown quarter morocco over marbled boards, raised bands, gilt device in compartments and gilt lettering to spine. Matching marbled endpapers, previous owner’s bookplate to front pastedown. Bookplate: Motto: “LITTERÆ SCIENTIA & ARTES / AR (monogram), 7738 BELIURE TOFFIER – TOURS / L. D.” Contributors: Eugène Briffault (French, 1799 – 1854) – author of the text. Bertall [ Bertal; Charles Albert d'Arnoux (French, 1820 – 1882) – illustrator. Pierre-Jules Hetzel (French, 1814 – 1886) – publisher. Printer: Imprimerie Schneider et Langrand, rue d'Erfurth, 1 (Paris). Paper: La papeterie d’Essonne. -
Hardcover volume, 24.5 x 17.5 cm, pictorial boards and endpapers, pp. [2] 3-167 [168]; 2 t.p., 129 pp. of plates, 33 pp. of text, 4 pp. of thumbnails, 1 colophon. Front cover (grey vignette, blue lettering): Das Leningrader Album | We are on | our way to school | singing songs | hip and cool | Вместе в школу | мы идём | песни модные | поём. | von | Evgenij | Kozlov | konkursbuch Verlag | Claudia Gehrke || ISBN: 3-88769-315-9. Evgenij Kozlov (Russian-German, b. 1955) – artist. -
FABLES | DE FLORIAN | ILLUSTRÉES | PAR J.-J. GRANDVILLE , | SUIVIES | DE TOBIE ET RUTH , | Poëmes tirés de l'Ecriture Sainte | ET | PRECEDEES D'UNE NOTICE SUR LA VIE ET LES OUVRAGES DE FLORIAN , | PAR P.-J. STAHL. | [Vignette] PARIS. | J.-J. DUBOCHET ET Cie , ÉDITEURS , | 1842. Pagination: ffl, [2 blanks] [i, ii - ht/imp.] [2 - blank/engr. t.p. by Grandville] [iii, iv - t.p./blank] [v] vi-xx; 2 sheets of plates, [3] 4-292, bfl; engraved t.p. + [79] leaves of plates + 5 faux t.p. (total 85 plates) Size: In-8vo, 23.8 x 15 cm. Binding: Orig. blind-stamped navy cloth with gilt Grandville characters to boards and spine. First edition, first printing. Reference: Léopold Carteret (Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927). Wood engravers: Adolphe Best (French, 1808 – 1860): 22 plates Louis-Henri Brévière (French, 1797 – 1869): 3 plates Brugnot (French, active 19th century): 7 plates Prosper-Adolphe-Léon Cherrier (French, born 1806): 6 + Tobie et Ruth + vignettes Louis Dujardin (French, 1808 – 1859): 2 plates Monogram GO–> (possibly for Godard) : 1 plate Halley-Hiback (French, 19th century): 1 + vignette Henri-Désiré Porret (French, 1800–1867): 2 + vignette Lacoste père et fils aîné et Auguste-Alexandre Guillaumot (French, 1815 – 1892): 5 plates Quichon (French, 19th century): 10 plates + Tobie et Ruth François Rouget (Belgian, born bef., 1825): 19 + vignette Unsigned or with an illegible signature: 6 plates -
Fables de La Fontaine / édition illustrée par J. J. Grandville (in 2 volumes). – Paris: H. Fournier Ainé, Perronin, 1838. Imp. H. Fournier et Ce, 14 rue de Seine (Premier Tirage). Vol 1: [2 - ht, imprim.] [2 - blank with handwritten inscription, frontis.] [2 - t.p., blank], [ [i] ii-xxviii - épitre, préface, [2 - plate 'fables', [1] 2 - dedication, [3, 4 - pltate: livre 1, blank] [5, 6 - plate: blank, cigale] [7] 8 - fab.1 (the subsequent plates are not paginated) - 292. (245-246 - Avertissement), (247-248 - A mamdam de Montespan); Wood engravings: frontispiece + half-title Fables + 7 running half-titles Livres des Fables + 72 plates. Vol. 2: [2 - ht, imprim.] [2 - t.p., blank] [1, 2 - plate 'livre 8', blank] [3] 4-312 (191-192 épilogue), (195-196 Au duc de Bourgogne), (268 - fin des fables), (269-296 Philemon et Baucis | D. O. M. | La Martone Déphèse | Belphegor), (297 -308 notice), (309-312 table); Wood engravings: 5 running half-titles Livres des Fables + 1 half-title Philemon et Baucis + 48 plates. Size: 8vo, 23.2 x 15 cm. Binding: Full tree-calf, flat spine stamped with gilt, red and brown labels with gilt lettering, marbled endpapers. Handwritten nut ink inscription to blank recto of frontispiece: the history of Millet-Fontaine family (provenance?) There were two print-runs in the year 1838. According to Léopold Carteret (Le trésor du bibliophile. Epoque romantique. 1801-1875 / Livres illustrés du XIXe siècle. – Paris: L. Carteret; imprim. Lahure, 1927, pp. 357-9), the first run (Premier Tirage) published by H. Fournier and Perrotin, while the Second Tirage by H. Fournier Ainé. Though, the initial cap character "N" at p. xiii (vie d'Ésope) in this copy is formed by 'faite de lignes bouclées' as in the first print-run, rather than by 'petits carreaux noirs et blances' as in the second. We can conclude with confidence that this copy belongs to Premier Tirage.
Wood engravings (135 plates, including frontispiece, and numerous headpieces and initial letters) were cut by the following artists (the first number is the number of the chapter ('livre'), the second – the number of the fable within the 'livre':
Wood engravers:
John Bastin, (British, fl. 1840 – 1850): 6-6, 7-13, and 8-9.
Alexandre Belhatte (French, born in 1811): 3-11 and chapter title pages to 'livres' 6, 11, 12, headpices on p. 117 in vol. 2, and 'Philemon et Baucis' section title page.
J. Constantine Beneworth (active France, 19th century): 1-6.
Louis-Henri Brévière (French, 1797 – 1869): 1-10, 2-7, 6-10, 6-21, 7-4, 8-10, 8-27, 9-3, 10-4, 12-11, frontispice, together with François-Louis Français (French, 1814–1897), and 'Fin des fables' tailpiece.
Brévière et Hébert: Louis-Henri Brévière (French, 1797 – 1869) and César-Auguste Hébert (French, active 19th century): 1-1, 1-2, 1-13, 1-18, 2-2, 2-11, 3-1, 3-3, 3-4, 3-18, 4-20, 4-21, 4-22, 5-5, 5-20, 6-2, 6-8, 7-3, 8-7, 8-12, 8-14, 8-17, 9-14, 10-6, 10-16, 11-6, 12-4, 12-25.
Joseph-Hippolyte-Jules Caqué (French, 1814 – 1885): 7-11 and headpieces on p. 251 in vol. 1 and on p. 197 in vol. 2.
Prosper-Adolphe-Léon Cherrier (French, born 1806): 8-6.
Henry Isidore Chevauchet (French, fl. 1837 – 1850): 1-19, 2-4, and 4-5.
Louis Dujardin (French, 1808 – 1859): 10-9.
Pierre-François Godard (French, 1768 – 1838): 1-5, 1-16, 5-2, and 10-11.
Charles David Laing (British, fl. 1836 – 1853): 7-9.
Lacoste père et fils aîné et Auguste-Alexandre Guillaumot (French, 1815 – 1892): 1-4, 1-20, 9-17, and 11-5.
Laisné (Alfred, Adèle, and Aglaé) (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10.
(Alfred, Adèle, and Aglaé) Laisné (French, active 1835–1868): 5-8, 6-5, 6-17, 8-2, 8-15, 9-9, 9-10, 11-1, 11-8, 12-10.
Théodore Maurisset (French, fl. 1834 – 1859): 2-14 and 6-13.
Antoine-Alphée Piaud (French, 1813 – 1867): 1-17, 2-9, 2-16, 4-1, 4-4, 5-15, 5-17, 5-18, 5-21, 8-22, 8-23, 8-25, 9-19, 10-13, 11-3, 11-9, 12-13, 12-15, 12-21, three 'livres': 3, 9, 10, and headpiece on p. 71 in vol. 2.
Roux-Jourdain: Two 'livre' title pages, 1 and 2.
John Orrin Smith (British, 1799 – 1843): 2-13, 2-18, 3-9, 3-14, 4-9, and 4-14.L. Chauchefoin (French): 2-3 and 5.13.
Matthew Urlwin Sears (British, 1799 – 1870): 10-1 and 12-9.
Monogram TM or MT (possibly for Théodore Maurisset): 6-16 and 10-3.
Monogram GO–> (possibly for Godard) : 5-3, 7-1, and 9-5.
Monogram B and BV: 4-11, 12-6, 'livre' 4, and headpieces on p. 1 in vol. 1 and on p. 167 in vol. 2.
Unsigned or with an illegible signature: "fables' section title, 1-3, 1-9, 3-5, 3-8, 4-15, 4-18, 5-10, 7-7, 7-16, 9-2, 9-4, 12-2, 12-3, 12-17, and two 'livre' title pages, 5 and 8.
Little is know about Matthew Urlwin Sears. He was a wood engraver of good reputation who is known to have worked in London in the early 1820s, Paris and Leipzig. Listed as "wood engraver" on records of the UK Printing Historical Society. Work The British Museum owns three of his earliest published works, engravings for Northcote's Fables (1828). He authored "Specimen of stereotype ornaments, 1825" which was reprinted as a facsimile in 1990 by the Printing Historical Society (London), with a foreword by James Mosley. He is mentioned by Pierre Gusman in "La Gravure sur Bois en France" (Paris, 1929). Laurent's Histoire de l'Empereur Napoleon, (1839) is one of many publications on which both Sears and his partner John Quartly worked, as well as numerous other engravers. His work appeared in "Aunt Effie's Rhymes" (1852) and "Uncle Tom's Cabin", by Harriet Beech Stowe (Edinburgh: Adam and Charles Black, 1853) [Claire-Juliette Beale, December 2009].
