Size: 71.5 x 70.0 x 3.0 mm.
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Iron tsuba of ryō-mokko-gata form decorated with a spotted deer (Nara deer or sika deer) motif in low relief carving (sukidashi-bori) and flat silver inlay (hara-zōgan); deer's eyes and details in gold inlay. Signed on a copper cartouche: Noriyuki. Grass in low relief carving on the reverse. There were two Noriyuki in Hamano school - father (Noriyuki I, 1736-1787) and son (Noriyuki II, 1771-1852). Frankly speaking, I don't know which one made this particular piece. Edo period, late 18th or early 19th century. -
An iron tsuba of oval form decorated with a water plantain (omodaka) carved in low relief and water drops inlaid in gold.
Signed: Bushū jū Masamitsu.
Bushū-Itō school.Height: 71.8; Width: 67.3; Thickness: 3.6; Weight: 96 g.
Mid to late Edo period; 18th-19th century.
There were several tsuba artists with the name of Masamitsu. The one who worked with iron and spelled [正光] is mentioned at Markus Sesko's 'Genealogies' on page 106 in Akasaka School of Edo section as Masamitsu Gorōbei , student of Tadatoki, 4th generation Akasaka master. The name is not mentioned at Torigoye/Haynes 'Tsuba. An Aesthetic Study' in the list of Bushū-Itō family masters on page 181. -
An iron tsuba of slightly vertically elongated circular form carved and pierced with a mass of ivy (tsuta) leaves and tendrils, details damascened with gold in nunome-zōgan technique. Hitsu-ana with raised rim.
Unsigned.
Chōshū school.Height: 72.0 mm; width: 69.0 mm; thickness: 4.7 mm; Weight: 92 g.
According to John W. Dower, "ivy bears fairly close resemblance to both maple leaf and grape leaf". However, I consider this tsuba decorated with ivy leaves for several reasons, such as the lack of racemations in the presence of tendrils. -
Iron tsuba pierced and carved (marubori-sukashi) with the 'horse in the round' design. Possibly, Bushū-Ito school, 19th century (ca. 1800). Kogai-hitsu-ana plugged with shakudō.
Size: 67.6 x 66.8 x 5.1 mm
Unsigned.
See:
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- Robert E. Haynes. Study Collection of Japanese Sword Fittings. Nihon Art Publishers, 2010, p. 120: Iron plate carved and formed in the round as a tethered bull...Signed: Bushū jū Sadayasu saku.
- Robert E. Haynes. Masterpiece and highly important tsuba, etc... San Francisco, 1984 // Catalog #9.: Signed: Bushū jū Yoshifusa. Ca. 1800, H 6.7 cm, Th. 4.75 mm.
- The Hartman collection of Japanese metalwork. Christie's, 1976, p. 29, №59: Bushū type, 19th century. Reference to Takezawa, Nihon Toban Zuetsu №411 for a similar design signed Bushū Yoshifusa.
4. Japanese Sword Fittings from the R. B. Caldwell Collection. Sale LN4188 "HIGO". Sotheby's, 30th March 1994, p. 17, №24: An iron tsuba, by Heianjo Sadatsune, Edo period (18th century). In the form of a horse, standing with its head lowered and a rope halter attached to its bit and trailing beneath. Signed Heianjo Sadatsune, 7.3 cm. With NBTHK Tokubetsu kicho paper, dated Showa 49 (1974). GBP 600-700.
Hartman collection, №59.
The Caldwell Collection. Heianjo Sadatsune, Edo period (18th century).
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Large oval form tsuba decorated with two human figures (scholar and attendant) under the pine tree admiring a view of a waterfall on the face of the plate, and with stylized dragons carved on the reverse among the symbols of thunder inlaid in gold. The plate is carved in low relief with details inlaid with gold and silver.
Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō. It is a fake signature (
gimei). Size: Height: 91.9 mm; Width: 85.6 mm; Thickness: 3.4 mm; Weight: 169 g.
This is a late Edo period, 19th-century export work to cater to the tastes of the European tsuba collectors. It does not have anything in common with the work of great Kaneie masters.
SOLD -
Silver Kozuka carved in kebori ("hair carving") with a ukiyo-e style half-length figure of a beautiful woman (possibly a courtesan) dressed in a splendid kimono and hair ornament (kanzashi). Signed on the back: Koreyasu/Zetai + kaō (是休「花押」) - transcribed by Markus Sesko. Size: 96.8 mm (H) x 14.9 mm (W). Edo period, early 19th century. I managed so far to find the only mention of Koreyasu at Japanese sword-mounts. A descriptive catalogue of the collection of J. C. Hawkshaw, Esq., M.A., of Hollycombe, Liphook. Complied and illustrated by Henri L. Joly. London, 1910 [LIB-1439 in this collection], page 204: 2623. — F./v., nigurome, chased in relief and inlaid with Omori Hikoshichi (large faces). Signed : Koreyasu of Yedo. xix. 2624. — F.K., nigurome, chased and inlaid in relief with Omori Hikoshichi and the witch. Signed : Shinriusha Koreyasu. No pictures of items or signature provided. -
Bando Mitsugorō III as Lady Iwafuji and Nakamura Matsue III as Lady Onoe, 1821.「局岩ふじ 坂東三津五郎」（三代）、「中老尾上 中村松江」（三代） in kabuki play Kagamiyama Kokyô no Nishikie [鏡山旧錦繪] (Mirror mountain: A women’s treasury of loyalty); author: Yô Yôdai. Artist: Shunkōsai Hokushū (春好斎 北洲), who is also known as Shunkō IV, active from about 1802 to 1832. Actors: Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775 – 1831); other names: Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. Nakamura Matsue III [三代目中村松江] (Japanese, 1786-1855); other names: Nakamura Sankō I, Nakamura Tomijūrō II, Ichikawa Kumatarō. Year: 1821 (Bunsei 4), 1st month. Publisher: Wataya Kihei (Wataki) (Japanese, fl. c. 1809 – 1885) Signed Shunkôsai Hokushû ga 春好斎北洲画. MFA Accession № 11.35375. MFA description: "Play: Keisei Kagamiyama (Mirror Mountain, a Courtesan Play). Theatre: Kado けいせい双鏡山（けいせいかがみやま）角. Ref.: [LIB-1193.2013] Leiter. Kabuki Encyclopedia, p. 156; [LIB-0879-2.2015] Kabuki plays on stage (vol. 2): 1773-1799, pp. 172-212. -
Iron tsuba of oval form with a shakudō fukurin and rough surface decorated by low relief carving and brass inlay with a centipede emerging from under the rock on both sides.
Edo period.Size: 78.9 x 73.6 x 3.8 mm
Unsigned. However, this tsuba may be (though with reservation) attributed to Misumi Kōji school. There is some information regarding this master(s) in Tsuba. An aesthetic study by Kazutaro Torigoye and Robert E. Haynes (from the Tsuba Geijutsu-kō of Kazataro Torigoye. Edited and published by Alan L. Harvie for the Nothern California Japanese Sword Club, 1994-1997) on pages 163-4, though I was not able to locate the tsuba in the original publication. Possibly, this fragment of the book was added by Robert Haynes. Markus Sesko speculates about Misumi in his The Japanese toso-kinko Schools.// Lulu Inc., 2012 on pages 374-5: "Misumi Kōjo Tsuba. Iron plate, elliptical shape, shakudō takabori suemon, yamagane fukurin. Centipede." But of course, visual similarity does not prove anything. I was not able to find any traces of signature or a triangle on the seppa-dai.
Misumi Kōji Tsuba on p. 163.
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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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Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). An untrimmed fan print titled Fuji Tsukuba aiaigasa, shows the actors Nakamura Shikan II [二代目中村芝翫] and the onnagata actor Iwai Kumesaburō II [岩井粂三郎] sharing an umbrella against the snow. Tsukuba, about 50 kilometres from Edo, was an area where both Fuji and Mount Tsukuba could be viewed together. Mount Fuji being the female and Mount Tsukuba the male. An aizuri-e background (common to all the designs in this set). A play on images and words. Actors: Nakamura Utaemon IV [中村歌右衛門] (Japanese, 1796 – 1852); other names: Nakamura Shikan II [二代目中村芝翫], Nakamura Tsurusuke I, Nakamura Tōtarō. Iwai Hanshirō VI [[岩井半四郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Kumesaburō II [岩井粂三郎], Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name). Publisher: Ibaya Senzaburo [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Date: circa 1832. Signed: Kōchōrō Kunisada ga in a red double-gourd cartouche. From the series of fan prints:
Two more prints from the series 'Fuji and Tsukuba sharing an umbrella' (Fuji Tsukuba aiaigasa), not in this Collection:
SVJP-0342.2021
Kabuki actors Onoe Kikugorō III and Iwai Kumesaburo II. Year: c. 1832; Publisher: No seal; Signed: Kōchōrō Kunisada ga From Kunisada Project. 
Kabuki actors Bandō Minosuke II and Iwai Shijaku I. Year: c. 1832; Publisher: No seal; Signed: Kōchōrō Kunisada ga From Kunisada Project. -
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: Hori Take [彫竹]. Publisher: Iseya Magobei [伊勢屋孫兵衛] (Japanese, fl. c. 1794 – 1868); seal: Hanmoto, Masu [板元, 益] (Marks 19-039 | 150d). Date-aratame seal: Ansei 2 (1855). Title: Time in Fukagawa, Iyo Province (Fukagawa Iyo setsu). Ref.: [LIB-3008.2022] Andreas Marks. Japanese woodblock prints: Artists, publishers and masterworks, 1680 – 1900. — Tuttle Publishing, 2010; p. 221. –> 1855 Kunisada. "Iyo Province-time at Fukagawa" (Fukagawa Iyo setsu). Fan print. Japan Ukiyo-e Museum, Matsumoto. -
Etching on laid paper, monogrammed in the plate and inscribed "Au Lac Siljan, Août 1874". Owner's stamp LVM on verso.
Dimensions: Paper: 47 x 34 cm; Plate: 24 x 19 cm; Image: 21 x 14 cm.
Catalogue raisonné: Rouir 858:5; Arthur Hubschmid (1977): 320.
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London: Published under the superintendence of the Society for the Diffusion of Useful Knowledge; Charles Knight & Co., no. 22 Ludgate Street. Dimensions: Sheet: 34 x 41.8 cm: Image: 28.7 x 38.3 cm. J. & C. Walker, Society for the Diffusion of Useful Knowledge Charles Knight & Co.; Charles Knight (British, 1791 – 1873) – publisher. J & C Walker (British firm, fl. 1820 – 1895) Walker, John (British, 1787 – 1873) Walker, Alexander (British, 1797? – 1870) Walker, Charles (British, 1799? – 1872) Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846) -
Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: (Purple of Edo // Purple of the Bay Capital) [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Onoe Baikō IV [四代目尾上菊五郞] Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names: Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō. One of the series of Kunisada's fan prints in this collection: -
Description: Hardcover, 31.5 x 25 cm, yellow cloth adorned with stylized lettering and coloured design elements, blue endpapers, all margins red; Errata slip tipped in p.1. Lacks dust jacket. Inset: newspaper clipping titled "Facsimile of the fan distributed after the Tien-Tsin Massacre". Title-page: Fans of Japan | BY | CHARLOTTE M. SALWEY | née BIRCH | WITH INTRODUCTION BY | WILLIAM ANDERSON, F.R.C.S. | LATE OF H. M’S. LEGATION, JAPAN | AND | WITH TEN FULL-PAGE COLOURED PLATES, AND THIRTY-NINE | ILLUSTRATIONS IN BLACK AND WHITE | {publisher’s device} | LONDON | KEGAN PAUL, TRENCH, TRÜBNER & CO. LTD | PATERNOSTER HOUSE, CHARRING CROSS ROAD | 1894 || Pagination: [i-vi] vii-xix [xx] [1] 2-148 [4]; total 172 pages. Collation: 4to; π10 A-T4 (total 86 leaves) plus 10 colour plates with tissue guards and 39 b/w in-text illustrations. Plate I pasted in a kind of matt, though with red margins as all other pages. Printer: Ballantyne, Hanson and Co. Chromo-lithographer: McLagan and Cumming (Edinburgh) Publisher: Kegan Paul, Trench, Trübner & Co. Charles Kegan Paul (British, 1828 – 1902) – publisher. Author: Charlotte Maria Salwey [née Birch] (British, b. 1847 – after 1919). Introduction: William Anderson (British, 1842 – 1900) Dedicatee: Dr. Samuel Birch (British, 1813 – 1885) -
Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Enshūya Matabei (遠州屋又兵衛) (c. 1768 – 1881), seal name: Enmata [ 遠又]. Signed: Toyokuni ga [豊国画]. Date-aratame censor seal: 未改, Bunsei 6 (1823). Size: uchiwa-e; 233 x 262 mm. Ref: Israel Goldman. Japanese Prints, Paintings and Books / Catalogue 28, 2022: № 14. -
Hand-coloured woodcut on wove paper, 282 x 392 mm; black ink stamp “5051 2” to reverse. Top: "Armée française. Garde–mobile. Artillerie." — (gothic font) "Französische Armee. Mobil–Garde. Artillerie." — "№103". Below left: "Lith F. C. Wentzel édit. à Wissembourg. (Alsacé); center: Déposé; right: Druck u. Verlag v. F. C. Wentzel in Weissemburg. (Elsass)."; Bottom: "Trompette" — "Capitaine" — "Porte-Drapeau". — "Soldat" — "Cantinière." Jean Frédéric Wentzel (French, 1807 – 1869) – publisher/printer. -
Title page: DIALOGUE AUX ENFERS | ENTRE | MACHIAVEL | ET MONTESQUIEU | OU LA POLITIQUE DE MACHIAVEL | AU XIXe SIÈCLE, | PAR UN CONTEMPORAIN. | {6 lines of citations} | ~ | BRUXELLES, | IMPRIMERIE DE A. MERTENS ET FILS, | RUE DE L’ESCALIER, 22. | 1864 ||Description: 17.9 x 12 cm, quarter red morocco over marbled boards, spine with raised bands, gilt bees in compartments, gilt lettering, marbled endpapers, ffep cut out top 1/4, ffep and h.t. loose.
Collation: 12mo; fep, π4 1-2712, 292, fep.; total 174 leaves. Pagination: [2 h.t] [2 t.p.] [i] ii-iii [iv] [1] 2-337 [338] [2 errata].Inscriptions and markings: "Hommage respectueux offert à M. Bourdais par son très humble serviteur, 5 Janvier 1881". Signature: E. Rouger (?) "Vu et approuvé". "Valatte". Ink stamp: "M<aîtr>e E. Brouard - Notaire a Laon Aisne".
Other copies: LIB-1034.2016 and LIB-2913.2021. Other related objects: SVVP-0062.2021. The publication was funded by the author and smuggled into France. Contributors: Maurice Joly (French, 1829 – 1878) -
Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Title: 「しなのやおこん 瀬川菊之丞」「帯屋長右衛門 嵐雛助」 Kabuki play: Katsuragawa Renri no Shigarami [桂川連理柵]. According to Waseda University Cultural Resource Database, the play was performed at Ichimura-za (Edo) on the 2nd month of Kansei 12 (year 1800) under the title 楼門五山桐 さんもんごさんのきり. Publisher: Nishimuraya Yohachi [西村屋与八] (Japanese, c. 1751 – 1869)., Play by Suga Sensuke [菅専助] (ca. 1728 – 1791) in two acts. First performed at Kita Horie-za in Osaka in October 1776. Based on a real incident occurring sometime in the Kyōhō era (1716-35), this story was first dramatized in 1761. The first Kabuki drama to stem from this play was in 1777 at Osaka's Araki-za. Obiya Chōemon, a married obi merchant (sitting with abacus) in his forties, meets his neighbour's daughter Ohan (standing behind Obiya), who is young enough to be his daughter, at an inn in Ishibe; the two fall in love and pledged their troth. Ohan becomes pregnant. After a series of misfortunes, the lovers rush to Katsuragawa (Katsura River), where they drown themselves.Segawa Kikunojō III (Japanese, 1751 – 1810); other names: Segawa Senjo, Segawa Rokō III, Segawa Tomisaburō I, Ichiyama Tomisaburō, Ichiyama Shichinosuke. The actor held the name of Segawa Kikunojō III from the 11th lunar month of 1774 to the 7th lunar month of 1801. He surpassed all the actors of his time in both female and male roles, especially in the former, and achieved tremendous public acclaim.
Arashi Hinasuke II [嵐雛助] (Japanese, c. 1774 – 1801); other names: Nakamura Jūzō III, Kanō Hidenosuke I, Arashi Hidenosuke I. The actor held the name of Arashi Hinasuke II from the 1st lunar month of 1794 to the 2nd lunar month of 1801. Hi died in Edo on the 4th day of the 2nd lunar month of 1801. For the same characters illustrated by Utagawa Kuniyoshi see SVJP-0333.2021.
Sources:
- Historical Dictionary of Japanese Traditional Theatre By Samuel L. Leiter. Second edition, 2014.
- Kabuki Encyclopedia. An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979.
- http://www.kabuki21.com/
- Waseda University Cultural Resource Database
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Thin six-lobed iron plate of brownish color is carved on each side with a groove that follows the rim and a concentric grooves around the center of the plate, also carved with six thin scroll lines (mokkō or handles, kan) that follow the shape of the rim. Mokume surface treatment. Hitsu-ana possibly added at a later date, and kogai-hitsu-ana plugged with gold. Silver sekigane.
Signed: Kunihide [國秀]. Higo school, 1st generation swordsmith.
Mid Edo period, ca. 1800.
Would be possibly attributed to Kamakura-bori school revival of the 19th century.
References: Nihon Tō Kōza, Volume VI / Japanese Sword / Kodōgu Part 1, page 231: Enju Kunihide, a tōshō from Higo: "...forging of the jigane is excellent, and there are also pieces with mokume hada."
Haynes Index Vol. 1, p. 741, H 03569.0: "Enju Kunihide in Higo province, died 1830, student of Suishinshi Masahide. Retainer of the Hosokawa Daimyō, etc."
Additional Information from Markus Sesko: This tsuba indeed is made by Enju Kunihide, who in his later years signed the HIDE [秀] character as HI [日] and DE [出], as here:
Size: 77.4 x 74.9 x 2.7 mm
Similar pieces are:
1. In this collection № TSU-0341: Kamakura-bori tsuba with mokkō motif. Muromachi period, 15th - 16th century.
2. Dr. Walter A. Compton Collection, 1992, Christie’s auction, Part II, pp. 14-15, №16: “A kamakurabori type tsuba, Muromachi period, circa 1400. The thin, six-lobed iron plate is carved on each side with a wide groove that follows the shape of the rim, and with six scroll lines and a single thin circular groove. […] The hitsu-ana was added at a later date, circa 1500-1550. Height 8.3 cm, width 8.6 cm, thickness 2.5 mm. The tsuba was initially intended to be mounted on a tachi of the battle type in use from Nambokucho to early Muromachi period (1333-1400)”. Sold at $935.
3. And another one in Robert E. Haynes Catalog #9 on page 24-25 under №23: “Typical later Kamakura-bori style work. This type of plate and carving show the uniform work produced by several schools in the Muromachi </em period. Some had brass inlay and others were just carved as this one is. The hitsu are later. Ca. 1550. Ht. 8.8 cm, Th. 3.25 mm”. Sold for $175.
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Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Published in c. 1845 (no seal). Possibly, from the "Untitled series of beauties reflected in mirrors", see Kunisada Project. However, this print does not have the seal of the censor Tanaka [田中]. -
![Charles Virmaître. Paris-Canard. – Paris: Albert Savine, 1888. – pp.: ffl [2 blanks] [2 orig. yellow cover, verso blank] [2 - ht, advert.] [2 - t.p., blank] 1-319 [320 blank] [2 back orig. cover, recto blank]. [Autograph].](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2535.2020-c-500x500.jpeg)
Cover: (original wrapper) PARIS-CANARD| PAR | CH. VIRMAITRE | A. SAVINE, Édeiteur, rue Drouot, 18, PARIS || Wood engraving to cover signed LeNatur — Michelet, sc. Title page: CHARLES VIRMAITRE | PARIS–CANARD | {publisher’s device} | PARIS | NOUVELLE LIBRAIRIE PARISIENNE | ALBERT SAVINE, ÉDITEUR | 18, RUE DROUOT, 18 | 1888 | Tous droits réservés. || Pagination: 2 blank leaves, original pictorial wrapper, [4], [1] 2-319 [320 blank], original back wrapper with publisher’s advertisement, 2 blank leaves. Collation: 12mo; π2, 1-1712 184. Binding: 18 x 12 cm, hardcover; quarter blue percaline, marbled boards, red title label ruled gilt with gilt lettering, gilt double tail ruler, fleuron to spine; original paper wrappers preserved. Bookplate to front pastedown: "EX LIBRIS EUGENE SELIGMANN" written on a ribbon; ink inscription to half-title in french: "To my good friends Paul Vogler and Maurice Radiguet, former – for a new acquaintance, latter – to become great." Signed: Ch. Virmaitre. Paul Vogler (French, 1853 – 1904) – painter in the Impressionist style. Jules Maurice Radiguet (French, 1866 – 1941) – illustrator , caricaturist and cartoonist. Father of Raymond Radiguet (French, 1903 – 1923). -
Vol. 1: Title: MÉMOIRES | DE | MONSIEUR CLAUDE | CHEF DE LA POLICE DE SURETÉ́ SOUS LE SECOND EMPIRE | {single rule} | PREMIER VOLUME | publisher’s device «JR» in oval} | PARIS | JULES ROUFF ET Cie, ÉDITEURS | 14, CLOITRE SAINT-HONORÉ, 14 | {single rule} || Pagination: [4] – h.t., t.p., [1-3] – engraved t.p. w/portrait, 3-800 [4], in-text and full-page woodcuts; last two leaves (table) has numbered pages 1000 and 1001; the total number of pages 808. Collation: 4to; π2 [1]4 2-1004 Ω2, woodcuts by Quesnel and Ferdinandus, within collation; the total number of leaves 404. Vol. 2: Title: Same but “DEUXIEME VOLUME” Pagination: [4] – h.t., t.p., [801-2] – frontis., 803-2010, [6] – assassinats, [4] – table, in-text and full-page woodcuts; last two leaves (table) has numbered pages 2018 and 2019; the total number of pages 1224. Collation: 4to; π2 101-2524 Ω2, woodcuts by Quesnel and Ferdinandus, within collation; the total number of leaves 612. Binding: Two volumes 28 x 20.5 cm each, uniformly bound in quarter polished brown calf over marbled boards, blind-stamped florets and gilt lettering to spine, marbled endpapers. Contributors: Claude, Antoine (French, 1807 – 1880) – declared author of the text. Labourieu, Théodore (French, 1822 – 1889) – assumed author of the text. Quesnel, Désiré Mathieu (French, 1843 – 1915) – woodcut printmaker. Ferdinandus, Alexandre [Avenet, François] (French, 1850 – 1888) – illustrator. D. Bardin et Cie – printer. Jules Rouff (French, 1846 – 1927) – publisher. Jules Rouff et Cie (Paris, 1873 – 1982) – publisher. Note: Common opinion is that the text was produced by Théodore Labourieu, not by, Antoine Claude. The first edition was published by the same publisher in 10 volumes in wrappers without illustrations, between 1880 and 1883, after the death of Antoine Claude. As stated in WorldCat: “not written or sanctioned by him.” This two-volume edition was published later, with multiple woodcuts. -
Photogravure after a pastel drawing by F. Rops. Monogrammed in the plate 'FR'. Owner's stamp 'LvM' on verso.
Dimensions: Paper: 26 x 20 cm; Plate: 25 x 18 cm; Image: 21 x 14.5 cm.
Catalogue raisonné: Arthur Hubschmid (1977): 543; Graphics irreverent and erotic (1968): 156.
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Kominato in Awa province [Awa Kominato] – one of five fan prints in the series Famous places in the Bōsō peninsula [Bōsō meisho], devoted to the trip undertaken by Hiroshige in 1852 to Bōsō peninsula (present-day Chiba prefecture). “Two fashionably dressed women beside the veranda of a wayside inn gaze out over Uchiura Bay toward the Tanjō Temple on the far shore, as a boat sets out to the sea from the fishing hamlet of Kominato. …Hiroshige’s viewpoint is from the lower slopes of Mount Kiyosumi”. Ref: Sebastian Izzard. Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], №. 52. Not in Faulkner's Hiroshige Fan Prints. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Tsujiya Yasubei [辻屋安兵衛] Kinkaido [錦魁堂] (Japanese, c. 1842 – 1863) Date seal and double nanushi censor seal: Mera & Watanabe; Kaei 5, 11th month (1852). Signed: Hiroshige ga [広重 画] in a red cartouche. Size: Fan print (Aiban yoko-e uchiwa-e); 225 x 292 mm. -
Description: One volume 22.8 x 25.4 cm, in contemporary gilt-ruled brown half morocco over green buckram boards, spine with raised bands, gilt in compartments, lettered in gilt, marbled endpapers, all edges marbled, printed in sanguine; pp. [6] [1-3] 4-234 [4], 36 blank leaves ruled red, 12 blank leaves; total 170 leaves; 35 mounted marbled paper samples on 10 sheets. Title-page: THE PROGRESS | OF THE MARBLING ART | FROM | TECHNICAL SCIENTIFIC PRINCIPLES | BY JOSEF HALFER | WITH A SUPPLEMENT ON THE | DECORATION OF BOOK EDGES | Translated by Herman Dieck, Philadelphia {gothic} | BUFFALO, N. Y. | LOUIS H. KINDER | 1893 || Edition: 1st American edition (and first edition in English) after two editions in Budapest (Austro-Hungary) in 1884 and 1890. Contributors: Josef Halfer (Austrian, 1846 – 1916) – author. Herman Dieck (American, fl. 1883 – 1896) – translator. Louis H. Kinder (American, 1867 – 1938) – publisher. -
An uncut fan print showing Otsu-e [大津絵] (Otsu pictures). Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879). Signed: Gountei Sadahide ga [五雲亭貞秀画] (Picture by Gountei Sadahide); characters on the Otsu-e. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Published: c. 1849. Inscription in a paper-weight shaped cartouche: [大津追 分絵の図] Ōtsu-oi wake-e no zu (Following Otsu – image of separate pictures) No date seal, no censor seal (privately printed?) Media: Fan print (uchiwa-e, 団扇絵), 235 x 298 mm. -
Hardcover volume, 20.4 x 13.1 cm, quarter contemporary calf over modern brown marbled board, printed on laid paper, pp.: [i-v] vi-xii, [13] 14-259 [260] blank; collated 8vo: 1-168 172; total 130 leaves. Title-page: DES | SOCIÉTÉS SECRÈTES | EN ALLEMAGNE, | ET EN D'AUTRES CONTREES; | DE LA SECTE DES ILLUMINÉS DU TRIBUNAL | SECRET, DE L'ASSASSINAT DE KOTZEBUE, ETC. | {two lines in rules} | PARIS, | LIBRAIRIE DE GIDE, FILS, | RUE SAINT–MARC–FEYDEAU, No. 20. | 1819. || Contributors: Vincent Lombard de Langres (French, 1765 – 1830) – author. Théophile-Étienne Gide (French, 1767 – 1837) – publisher. Seller's description: [LOMBARD DE LANGRES (Vincent)]. Des Sociétés secrètes en Allemagne, et en d'autres contrées. Paris, Gide fils, 1819 ; in 8°, demi basane fauve, dos lisse orné. Reliure de l'époque. Edition originale rare. L'auteur, révolutionnaire, fut ami de Danton et de Barras. Dans son ouvrage anti maçonnique, il dévoile les doctrines des sociétés secrètes, leurs principes, leur influence dans la société. Caillet 6770. -
Lithography and etching on wove paper432 x 362 mm, black ink stamp “5022” to reverse, horizontal and vertical centrefolds. Depicts Diogenes (Ancient Greek, 412/404 – 323 BC) beside his barrel and extinguishing his torch when approached by Napoléon III ahorseback. Top: "1857 | HONNEUR ET PATRIE"; lettering on ribbons (top-down): SCIENCES, TRAVAIL, COMMERCE, ARTS, CHARPENTIERS, IMPRIMEURS, "MECHANICIENS, AGRICULTEURS, MAÇONS, FONDEURS, TERRASIERS, CIZELEURS, CARRIERS, ORFEVRES, BIJOUTIERS, CHAPELIERS, MENUISIERS, VERRIERS, SERRURIERS, TAILLEURS, SELLIERS, POTIERS, PORCELAINIERS, CORDONNIERS, TISSERANDS, INDUSTRIE, COMMERCE | CALENDRIER DE L'ABEILLE | EMPIRE, FRANÇAIS. Below left: "lith. Barousse Cour du Comm. 11 et 12. Paris"; right: "Dépôt rue des Cannettes, 20. Paris"; bottom: "Et, pour trouver un homme, il quitte son tonneau, | Voyant Napoléon, – il éteint son flambeau!" [And, to find a man, he leaves his barrel, | Seeing Napoleon, – he extinguishes his torch!]. Six months on the left and six months on the right-hand side of the calendar, surrounding the image. -
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. Actor: Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Character: Tanbaya Onizo [丹波屋鬼蔵] Play: Koi Bikyaku Yamato Orai [恋飛脚大和往来] Performance: Kawarasaki Theatre [河原崎座] in the 2nd month of 1851. Double nanushi censor seals: Fuku & Muramatsu, from 3rd month of Kaei 2 to 11th month of Kaei 4 (1849-51). Another fan print from the pair SVJP-0212-2.2016: Sawamura Chōjūrō V as Kameya Chubei.
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Artist: Utagawa Toyokuni I (1769–1825) Actor Matsumoto Kōshirō V plays the role of Ikyû in the drama "Sukeroku Yukari no Edo Zakura". The roles of Sukeroku and the courtesan Agemaki are played by Ichikawa Danjûrô VII and Iwai Hanshirô V". Ichimura Theater in Edo in 2nd lunar month of 1811. Publisher: Chōjiya Kichi (1811-1826); Marks' "Publishers" № 028, p. 103. Size: Vertical ôban Woodblock print (nishiki-e); ink and color on paper. Signed: Toyokuni ga My print is the right sheet of a triptych (see: Rare books exhibition in January 2013).
A lookalike triptych by Kunisada can be found in Ronin Gallery:
Data from Kabuki21:
Stage names:
Matsumoto Kôshirô V, Ichikawa Komazô III, Ichikawa Sumizô I
Guild: Kôraiya
Line number: GODAIME (V)
Poetry names: Kinshô, Kinkô
Existence: 1764 ~ 10th day of the 5th lunar month of 1838
Connection:
Father: Matsumoto Kôshirô IV
Sons: Matsumoto Kôshirô VI, Ichikawa Sumizô II
Disciples: Matsumoto Kojirô, Matsumoto Kingo I, Matsumoto Hidejûrô II
Matsumoto Kôshirô V was one of the Kabuki giants, a senryô yakusha, during the Bunka, Bunsei and Tenpô eras. In his 20's he was a tachiyaku actor excelling in nimaime roles like Soga Jûrô Sukenari in sogamono dramas. He started to perform jitsuaku roles from the 11th lunar month of 1798 and quickly became one of the best actors for villain roles, especially in Tsuruya Nanboku IV's kizewamono. He had a considerable influence on actors like Onoe Kikugorô III or Ichikawa Danjûrô VII. The kata he deviced for some of the most famous roles in Kabuki history, like Gonta ("Sushiya") or Nikki Danjô* ("Meiboku Sendai Hagi") are still used nowadays. "The fifth Kôshirô had a very large nose and his eyes were close together, two facial defects the print artists were fond of depicting, so that this Edo actor is easily picked out in the pictures illustrating the theatre of this time." (Zoë Kincaid in "Kabuki, the Popular Stage of Japan")
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Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: May of the Year of Dragon [辰五] (Tatsu-go) (5/1856) (Not in Marks).
Uncut fan print (uchiwa-e) depicting Onoe Kikugorō IV as Karukaya Dōshin parting from his son, Ishidomaru (played by Ichimura Uzaemon XIII), and Kawarasaki Gonjūrō I as Yamazakiya Yogoro in the kabuki play Karukaya Dōshin Tsukushi no Iezuto [苅萱桑門筑紫𨏍], written by Namiki Sōsuke [並木宗輔] (Japanese, 1695 – 1751) and performed at Ichimuraza [市村座] in 05/1856.
Media: Fan print [団扇絵] (Uchiwa-e); size: 235 x 305 mm.
Actors:
Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names: Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō.
Onoe Kikugorō V [五代目尾上菊五郎] (Japanese, 1844 – 1903 other names: Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII [十三代目市村羽左衛門], Ichimura Kurōemon.
Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
Plot: It was a popular belief at one time that jealous women had their hair transformed into writhing serpents and Kato Sayemon Shige-Uji, a daimyo of Tsukushi, a much-married man, suffered from the delusion that his wife was so affected. He fled to the mountains to escape her and led the life of a hermit under the name of Karukaya Doshin [苅萓道心]. One day, on Mount Kōya (高野山, Kōyasan) Karukaya meets a young man who was wandering in the mountains. Being questioned, the youth tells his name, Ishidomaru, and elicits the information that he is seeking his lost father. Karukaya then recognizes the boy as his own son, but firm in the resolve to remain lost to the world, he refrains from disclosing himself, and bids the youth return home.
Provenance: Paul F. Walter (American, 1935 – 2017).
Ref.:
- [LIB-2110.2019] Samuel L. Leiter. Historical Dictionary of Japanese Traditional Theatre (Historical Dictionaries of Literature and the Arts). / 2nd edition. – Lanham: Rowman & Littlefield, 2014; pp. 379-380.
- [LIB-2206.2019] Basil Stewart. Subjects portrayed in Japanese colour-prints. — London: Kegan Paul, Trench, Trubner & Co. Ltd., 1922.
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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香蝶楼国貞画] in a double-gourd cartouche. Iseya Sōemon [伊勢屋惣右衛門] (Japanese, 1776 – 1862); seal: Ue [上] (Marks 02-041 | 156a). Inscription in the red stripe: Five types of haiku in shōfū style [俳諧五流蕉風] (Haikai gōryū shōfū). Censor's seal: Watari [渡] (Watanabe Shōemon), VI/1842–V ic/1846. Media: Fan print [団扇絵] (Uchiwa-e); size: 225 x 292 mm. An uncut fan print depicts a young woman with an insect (firefly) cage in her left hand. Her striped kimono is adorned with the design of white, grey and blue cherry blossoms. Two of the Seven Grasses of Autumn [秋の七草] (aki no nanakusa), namely Platycodon grandiflorus (kikyō) [桔梗] a.k.a. Chinese bellflower (or balloon flower) and Patrinia scabiosifolia (ominaeshi) [女郎花] a. k.a. Eastern (or Golden) Valerian, are seen on her right-hand side. -
Title: A COMPLETE | COURSE OF LITHOGRAPHY: | CONTAINING | Clear and Explicit Instructions | IN ALL THE | DIFFERENT BRANCHES AND MANNERS OF THAT ART | ACCOMPANIED BY | ILLUSTRATIVE SPECIMENS OF DRAWINGS. | TO WHICH IS PREFIXED A | HISTORY OF LITHOGRAPHY, | FROM ITS ORIGIN TO THE PRESENT TIME. | By ALOIS SENEFELDER, | INVENTOR OF THE ART OF LITHOGRAPHY AND CHEMICAL PRINTING. | WITH | A PREFACE | By FREDERIC VON SCHLICHTEGROLL, |Director of the Royal Academy of Sciences at Munich. | TRANSLATED FROM THE ORIGINAL GERMAN, BY A.S. | London: | PRINTED FOR R. ACKERMANN, 101 STRAND. | 1819. || Pagination: [i-iii] iv-xxviii, [4] [1] 2-342. Collation: 4to; [a]-d4, B-2U4 2X2, +14 lithographed plates by Ackermann (incl. 1 folding, 1 colour frontispiece and 1 portrait of A. Senefelder); plates opposite to pp. [i], [1], 193, 198, 203, 228, 232 (fold.), 256, 258, 264, 269, 290, 302, and 305. Binding: By Anne Krawitz (Philadelphia, PA), 27.5 x 21 cm, modern full mottled calf, boards ruled in gilt, flat spine, compartments ruled in gilt, crimson label with gilt lettering to spine, printed on wove paper; round book-plate to front paste-down “TWM, The Whitehead Library”. Edition: 1st in English. Ref.: MET: Accession Number: Ref.20; RCT: RCIN 1195886; Contributors: Alois Senefelder (German, 1771 – 1834) – author of the original and translator. Friedrich Schlichtegroll (German, 1765 – 1822) – author of preface. William Clowes (British, 1779 – 1847) – printer. Rudolph Ackermann (German-British, 1764 – 1834) – publisher and lithographer. Samuel Prout (British, 1783 – 1852) Maximilian Joseph, King of Bavaria (German, 1756 –1825) – dedicatee. -
Title page: THE | VISION; | OR | HELL, PURGATORY, AND PARADISE, | OF | DANTE ALIGHIERI. | TRANSLATED BY | THE REV. HENRY FRANCIS CARY, A. M. | IN THREE VOLUMES. | THE SECOND EDITION CORRECTED. | WITH THE LIFE OF DANTE, ADDITIONAL NOTES, | AND AN INDEX. | VOL. I. (–II, –III.) | — | LONDON: | PRINTED FOR | TAYLOR AND HESSEY, FLEET STREET. | 1819. || Pagination: (I) [2] – t.p. / blank, [4] – preface, [2] – contents / blank, [2] – errata / blank, [i] ii-lii – life of Dante, [1-3] 4-303+colophon [304 blank]; (II) [2] – t.p. / blank, [v] vi-xi [xii blank] – chronological view, [1-3] 4-309 [310 colophon]; (3) [2] – t.p. / blank, [1-3] 4-297 [298 blank], [28 index, colophon]; as called for by Royal Academy. Collation: 8vo; (1) π5 b-d8 e2 B-U8; (2) π5 B-U8 X2 Y1; (3) π1 B-U8 X8 X3. Binding: 22 x 14 cm each, three volumes uniformly bound by Morrell (stamp-signed on FEP verso) in slightly marbled polished calf, gilt dentelle border to boards and inside, gilt ornamental spine with red morocco labels, peacock marbled endpapers, extra vergé flyleaves in front and back, AEG. Edition: 2nd, corrected. The 1st edition was published by J. Barfield in 1814. Contributors: Dante Alighieri (Italian, 1265 – 1321) – author. Henry Francis Cary (British, 1772 – 1844) – translator. James Augustus Hessey (British, 1785 – 1870), Taylor and Hessey (London) – publisher. Thomas Miller (British, fl. 1815 – 1819) – printer. -
