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NEWSoftcover auction catalogue, 267 x 209 mm, pictorial wrappers with white lettering to cover, black and white lettering to spine; pp. [2] 3-171 [1]; auction held at Christie’s New York on Monday, 24 November 1997, featuring lots 1-297, with properties from Sir Valentine Abdy and various owners; includes descriptions and images of Japanese prints, paintings, and screens. Sheet with realized prices laid in. Title-page: JAPANESE PRINTS, PAINTINGS AND SCREENS | Properties of | SIR VALENTINE ABDY | VARIOUS OWNERS | Auction | Monday, 24 November 1997 at 10.00 a.m. (Lots 1-297) | 502 Park Avenue at 59th Street | New York, New York 10022 | Sale Code | In sending written bids or making inquiries, this sale should be referred to as #8782 | Viewing | […] | Christie’s | 502 Park Avenue at 59th Street | New York, New York 10022 | Telephone: (212) 546 1000 | Internet: http://www.christies.com | (30) Registered at the above address No. 1128160 | {CHRISTIE’S device} || Sixty Fan Prints in this catalogue. 39. TOYOKUNI: aiban uchiwa-e (22.9 × 26.6 cm.); Nakanocho yozakura no zu "Picture of cherry blossoms by night in Nakanocho", a courtesan and two kamuro strolling under cherry trees, signed Toyokuni ga, the censor’s seal corresponding to 1817, published by Ibaya Senzaburo—good impression, very good color, slightly soiled, upper right corner torn and restored. — Estimate: $2,000-3,000. 40. TOYOKUNI: aiban uchiwa-e (22.8 × 29.8 cm.); a bust portrait of a beauty holding the edge of a hand-towel flung over her shoulders, signed Toyokuni ga, censor’s seal corresponding to 1822—very good impression, good color, slightly soiled and rubbed along edges, a minor stain by the edge. — Estimate: $3,000-4,000. 79. KUNISADA: aiban uchiwa-e (23.2 × 30.1 cm.); a bust portrait of a woman dyeing her teeth black against a light-blue background sprinkled with mica, the facial lines printed in deep red, signed Kunisada ga—fine impression and color, slightly soiled along edges, binding holes on right restored, a few minute holes on right. — Estimate: $3,000-4,000. 80. KUNISADA: aiban uchiwa-e (23.8 × 30.1 cm.); a bust portrait of a beauty in a flower-patterned purple robe exposing the left shoulder against a light-blue background sprinkled with mica, the facial lines printed in deep red, signed Kunisada ga, square kiwame censor’s seal and published by Ibaya Senzaburo—fine impression and color, slightly soiled and stained along edges, a few minor stains on right. — Estimate: $3,000-4,000. 82. KUNISADA: aiban uchiwa-e (22.8 × 26.3 cm.); a woman in a kimono patterned with blue seals against a background of purple and black checks and green stenciled “deerskin” patterned with horses and grasses, signed Kunisada ga, the censor’s seal corresponding to 1826, published by Ibaya Senzaburo—fine impression and color, slight stain along right edge, binding holes on right, a minute worm hole in the lower margin. — Estimate: $3,000-4,000. 83. KUNISADA: aiban uchiwa-e (22.9 × 27.1 cm.); a woman wiping her neck before an iris-patterned background, signed Kunisada ga, censor’s seal corresponding to 1826, published by Ibaya Senzaburo—very good impression and color, corners slightly soiled, minor damage and binding holes on right edge, a minute worm hole on the lower margin. — Estimate: $2,500-3,500. 84. KUNISADA: aiban uchiwa-e (22.7 × 29.9 cm.); a woman holding a bamboo basket against a background of tie-dyed fabric patterned with hagi (bush clover), from the series Mutamagao “Six jewel faces”, the pattern on the background alluding to the Jewel River in Noji (Hagi no Tamagawa) in Ōmi province, suggested by the title, signed Kunisada ga—fine impression and color, binding holes on right. — Estimate: $3,000-4,000. 85. KUNISADA: aiban uchiwa-e (22.7 × 29.8 cm.); Prince Mitsugi against a background of tie-dyed fabric patterns holding a spray of yamabuki, from the series Mutamagao “Six jewel faces”, the flower alluding to the Jewel River in Ide (Yamabuki no Tamagawa) in Yamashiro province, signed Kunisada ga—fine impression and color, slightly stained along side edges, binding holes on right. — Estimate: $3,000-4,000. 86. KUNISADA: aiban uchiwa-e (22.8 × 30 cm.); a woman against a background of tie-dyed fabric patterns holding a sake cup and a paper toy figure of a monk, from the series Mutamagao “Six jewel faces”, the monk alluding to the Jewel River in Kōya (Koya no Tamagawa) in Kii province, signed Kunisada ga—fine impression and color, binding holes on both sides, slightly soiled along the lower edge. — Estimate: $3,000-4,000. 87. KUNISADA: aiban uchiwa-e (22.7 × 30 cm.); a woman washing clothes in a basin against a background of tie-dyed fabric patterns, from the series Mutamagao “Six jewel faces”, alluding to the Jewel River in Chōfu (Chōfu no Tamagawa) in Musashi province, signed Kunisada ga—fine impression and color, binding holes on both sides, a few minute worm holes near edges. — Estimate: $2,000-3,000. 88. KUNISADA: aiban uchiwa-e (22.7 × 30.2 cm.); a courtesan against a background of tie-dyed fabric patterns looking at a book illustration of a woman pounding cloth, from the series Mutamagao “Six jewel faces”, the book illustration alluding to the Jewel River in Mishima (Toi no Tamagawa) in Settsu province, signed Kunisada ga—fine impression and color, slightly soiled along left edge, binding holes on right, a few minor worm holes on left. — Estimate: $2,500-3,500. 89. KUNISADA: aiban uchiwa-e (22.7 × 29.8 cm.); a beauty against a background of tie-dyed fabric patterns holding a pipe looking at toy birds hanging from bamboo, from the series Mutamagao “Six jewel faces”, the bird decorations alluding to the Jewel River in Noda (Chidori no Tamagawa) in Rikuzen province, signed Kunisada ga—fine impression and color, binding holes on both sides, slightly stained along lower edge, a few minute worm holes. — Estimate: $2,500-3,500. 97. KUNISADA: aiban uchiwa-e (21.9 × 29.2 cm.); Fune kara agari “Disembarking from the boat”, signed Toyokuni ga and published by Ibaya Senzaburo—fine impression and color, binding holes and minor damage on right. — Estimate: $2,500-3,500. 98. KUNISADA: aiban uchiwa-e (22.8 × 29.34 cm.); Shinkei atsurae zome “Modern form of custom-dyeing”, illustrating a beauty before a background of textile patterns fishing clams from a bowl with a stem of flower, signed Kocho Toyokuni ga and published by Ibaya Senzaburo—fine impression, color, and condition. — Estimate: $3,000-4,000. 103. KUNISADA AND HIROSHIGE: aiban uchiwa-e (22.1 × 29.5 cm. ea. approx.); a complete set of seven prints from the series Sohitsu nanato meguri “Twin-brush journey to the seven hot springs [of Hakone]”, comprising Kiga, Tonosawa, Yumoto, Miyanoshtia, Dogashima, Ashinoyu and Sokokura, each of a beauty or a male figure before a landscape of a separate hot spring, signed Toyokuni ga and Hiroshige hitsu and published by Ibaya Senzaburo, censor’s seal corresponding to 1854, second month—fine impressions and color, slightly soiled along bottom edges, some with fold line and minute worm hole along the left edge with restoration on reverse. This landscape series appears to be unrecorded. — Estimate: $15,000-20,000. 110. KUNIYOSHI: aiban uchiwa-e (22 × 29.9 cm.); Suika no suisho “Watermelon, water”, a beauty extracting seeds from a slice of watermelon, from the series Gogyo no uchi “The five natural elements”, signed Ichiyusai Kuniyoshi ga and published by Surugaya Sakujiro—very good impression and color, binding holes on right, slightly soiled and stained along edges, some minute worm holes, upper left corner torn. — Estimate: $1,500-2,000. 111. KUNIYOSHI: aiban uchiwa-e (22 × 29.9 cm.); Chochin no kasho “Lantern, fire”, a beauty lighting a lantern, from the series Gogyo no uchi “The five natural elements”, signed Chooro Kuniyoshi ga and published by Surugaya Sakujiro—very good impression and color, slightly soiled and stained along edges, binding holes on left, minor worm holes on upper corners, upper right corner torn. — Estimate: $1,000-1,500. 112. KUNIYOSHI: aiban uchiwa-e (21.9 × 29.1 cm.); Zato no seiran “Fine weather for a blind man” from the series Otsu hakkei “Eight views of Otsu-e”, illustrated by a beauty and a dog, the small cartouche depicting a blind man attacked by a dog, signed Ichiyusai Kuniyoshi ga, published by Tsujya Yasubei—fine impression and color, binding holes partly torn on right, a minute worm hole on upper right margin. Two other images from the same set are illustrated in Narazaki Muneshige, Victoria and Albert Museum II, Ukiyo-e masterpieces in European collections (Tokyo: Kodansha, 1989), pls. 34 and 35. — Estimate: $2,000-3,000. 113. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4 cm.); a woman standing by a lantern and holding an umbrella under cherry petals falling against the night sky, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—fine impression and color, paper slightly toned and stained, minor damage on left edge, a pin hole on upper left margin. — Estimate: $2,500-3,500. 115. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4 cm.); a woman putting her hand on a palanquin in the lantern-light, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—fine impression and color, a minute hole in the upper right margin, otherwise very good condition. — Estimate: $3,000-4,000. 116. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6 cm.); a woman beside a bath tub, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—very good impression and color, a minute hole in upper right margin, a minor tear in the lower margin on right edge, otherwise good condition. — Estimate: $2,000-3,000. 117. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); a woman in the evening on a boat enjoying green soybeans, from the series Ukiyo hakkei “Eight nocturnal trysts,” signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—Fine impression and color, minute hole on upper right margin, a few minute ink smudges. Another image from the same set of the Niwaka festival in the Yoshiwara, is illustrated in Narazaki Muneshige, Ukiyo-e Masterpieces in European Collections (Tokyo: Kodansha, 1989), pl. 36, and in R. A. Crighton, The Floating World, Japanese Popular Prints 1700-1900 (London: Her Majesty’s Stationery Office, 1973), no. 11. — Estimate: $2,500–3,500. 118. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); an ochazuke (rice with tea) shop waitress carrying a tray and teapots, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, a worm hole on upper edge, otherwise very good condition. — Estimate: $3,000–4,000. 119. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6cm.); a beauty in a mirror with a sprinkled mica background arranging her hair, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, binding holes on left, two minute holes in the upper right margin. Other images from the same set, of a mother and baby, and a woman trimming her hairline, are illustrated in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), pls. 280 and 281; and Suzuki Jūzō, Kunisada/Kuniyoshi/Eisen, Ukiyo-e Taikei, vol. 10, (Tokyo: Shueisha, 1974), pl. 44; A beauty applying powder is in Utagawa Kuniyoshi ten (Utagawa Kuniyoshi exhibition) (Tokyo: Riccar Art Museum, 1978), no. 172. — Estimate: $3,000–4,000. 120. KUNIYOSHI: aiban uchiwa-e (22.9 × 29.5cm.); a beauty smoking reflected in a mirror, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, a minor worm hole in the lower left margin. See lots 119 and 121 for other images in the set. — Estimate: $4,000–6,000. 121. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.2cm.); a beauty reflected in a mirror with a sprinkled mica background frightening a cat with her reflection, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, very slight glue stain along top and left edge, minute pin holes on upper right margin. Another impression of this print was sold in these Rooms, June 27, 1985, lot 106. See lots 119 and 120 for other images in the set. — Estimate: $6,000–8,000. 122. KUNIYOSHI: aiban uchiwa-e (23.7 × 30.7cm. ea. approx.); two prints from the series Dogai kesho no tawamure “Brushes with make-up off the beaten path,” one titled Omori illustrating animated cosmetic utensils strolling on the seashore at Omori; and the other watching fireworks on a river bank, titled Hanabi “Fireworks”, signed Chooro Kuniyoshi giga and the other signed Ichiyusai Kuniyoshi giga, published by Kogaya Katsugorō—very good impression, slightly faded, trimmed and laid down, the first with a few minute worm holes on top. — Estimate: $2,000–3,000. 126. KUNIYOSHI: aiban uchiwa-e (22.4 × 28.5cm.); illustrating figures on a blue ground forming spinning tops, signed Ichiyusai Kuniyoshi giga and published by Ibaya Senzaburō—very good impression and color, extensive wood grain, trimmed into the shape of the fan. — Estimate: $2,000–3,000. 127. KUNIYOSHI: aiban uchiwa-e (22.7 × 30.5cm.); Tōsei musume katagi “The spirit of modern young women”, a beauty repapering shōji while a child peeks through the frame, signed Chooro Kunisada ga and published by Ebiyu Rinnosuke—very good impression and color, slightly soiled and rubbed along bottom and left edge, minute worm holes in upper left margin, a minute stain in the center. — Estimate: $1,500–2,000. 128. KUNIYOSHI: aiban uchiwa-e (21.9 × 29cm.); a beauty standing by a stone lantern in a moonlit garden, subtitled Tsuki “Moon”, from the series Setsugekka no uchi “Snow, moon and flowers”, signed Ichiyusai Kuniyoshi ga—fine impression, very good color, damaged binding holes on left edge, some minor worm holes on edges. — Estimate: $2,000–3,000 129. KUNIYOSHI: aiban uchiwa-e (21.9 × 30.1cm.); Kaze “Wind”, a beauty on a boat enjoying the evening cool on the river, from the series Kachōgetsu “Flowers, birds, wind and moon”, signed Ichiyusai Kuniyoshi ga and published by Sanoya Kihei—very good impression and color, some minor stains, binding holes on left, a minute worm hole on upper right margin. — Estimate: $2,000–3,000. 130. KUNIYOSHI: aiban uchiwa-e (23.3 × 29.6cm.); a beauty dedicating a hand towel at a washing trough in a shrine, signed Ichiyusai Kuniyoshi ga—fine impression and color, slightly soiled and rubbed along edges, vertical center fold. — Estimate: $2,000–3,000 131. KUNIYOSHI: aiban uchiwa-e (22.6 × 29.3cm.); Sumidagawa “Sumida River”, a beauty under a cherry tree by the river bank putting her hand on a figure of Daruma, representing cherry blossoms, from the series Rokkakusen “Six flower rivers”, signed Ichiyusai Kuniyoshi ga and published by Iseya Sōemon—very good impression and color, slightly stained along edges, slightly soiled, binding holes on right, corners trimmed, a minute worm hole in the upper right margin. Other images from the same set: Ayasegawa, with hydrangea, in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), pl. 288; and Okawa, with morning glory, in Tokyo kokuritsu hakubutsukan zuhan mokuroku, Ukiyo-e hanga hen (Illustrated catalogue of the Tokyo National Museum, Ukiyo-e prints), vol. 3, (Tokyo: Tokyo bijutsu, 1974), no. 3063. — Estimate: $1,000–1,500. 132. KUNIYOSHI: aiban uchiwa-e (21.9 × 28.9cm.); a beauty with a partially unrolled letter before a portrait of Sōjōbō, king of the tengu, in a decorated frame, entitled Imayō gakumen awase “Collection of modern framed pictures”, signed Ichiyusai Kuniyoshi ga—very good impression and color, very slightly stained on the bottom, binding holes on right, a minor worm hole in upper right margin. — Estimate: $3,000–4,000. 133. KUNIYOSHI: aiban uchiwa-e (21.9 × 28.9cm.); a beauty holding a fan and burning a taper beside a portrait of Soga no Jūrō in a decorated frame, entitled Imayō gakumen awase “Collection of modern framed pictures”, signed Ichiyusai Kuniyoshi ga—very good impression and color, binding holes on both sides, a minor worm hole in the upper right margin. Estimate: $2,500–3,500. 134. KUNIYOSHI: aiban uchiwa-e (22.9 × 29.3cm.); a woman biting the edge of her kerchief before a backdrop of a cart and clematis vines, entitled Mitate Konkai “Parody of Konkai” (the alternate title for the kyōgen farce, Tsuri gitsune), signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, two minute worm holes on upper left margin, otherwise very good condition. Another impression of this print was sold in these Rooms, November 2, 1996, lot 612. Estimate: $3,000–4,000. 135. KUNIYOSHI: aiban uchiwa-e (23.7 × 30.1cm.); Aishō kagami “Mirror of compatibility”, a beauty against a stylized wave-and-fish-patterned background reading a letter, below a round mirror cartouche enclosing a bust portrait of Shirai Gonpachi, signed Ichiyusai Kuniyoshi ga and published by Ibaya Kyūbei—fine impression and color, minor glue stain along upper edge, few minute worm holes in margins. Estimate: $3,000–4,000. 136. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a beauty with an umbrella beside a playbill, entitled Imayō sugata “Modern style”, signed Chooro Kuniyoshi ga and published by Iseya Sōemon—fine impression and color, a minute worm hole on left edge, a minute hole on left, binding holes on right. Estimate: $2,000–3,000. 137. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.2cm.); a woman on a bridge under an umbrella throwing paper votive slips printed with Buddhist figures into the wind, signed Chooro Kuniyoshi ga—very good impression, color and condition. Estimate: $2,000–3,000. 138. KUNIYOSHI: aiban uchiwa-e (22.5 × 28.9cm.); Koshikibu, from the series Reppuden “Legends of heroic women”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, binding holes on left, minute worm holes on top in the center. Estimate: $2,500–3,500. 139. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.6cm.); Kitsune “Fox”, from the series Mitsuboshi no uchi, a beauty wiping her hands with a towel at a washing trough at an Inari shrine, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1852, second month, published by Kojimaya Jūbei—very good impression and color, binding holes on left, very slight stain along edges and in lower margin, otherwise good condition. Estimate: $3,000–4,000. 140. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6cm.); Karudo “Hunter”, from the series Mitsuboshi no uchi, illustrating a beauty in a thick overcoat holding a piece of wood, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1852, second month—very good impression and color, binding holes on right, otherwise good condition. Estimate: $3,000–4,000. 141. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); Atsurae zome konomi no irodori “Favorite colors for custom-dying” and subtitled Fuji nezumi “Mount Fuji gray”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Iseya Sōemon—fine impression and color, binding holes on left edge, otherwise good condition. Two other images from the same set, entitled Edo murasaki “Edo purple” and Ai miru cha “Tea-hut brown”, are illustrated in Uragami Toshirō, Ukiyo-e Utagawa-ha san kyōsho ten - Kunisada Kuniyoshi Hiroshige no sekai (Exhibition of three masters of the Utagawa school - the world of Kunisada, Kuniyoshi and Hiroshige -) (Hagi: TYS, 1991), pls. 74, 75, 109; and Tokyo kokuritsu hakubutsukan zuhan mokuroku, Ukiyo-e hanga hen (Illustrated catalogue of Tokyo National Museum, Ukiyo-e prints), vol. 3, (Tokyo: Tokyo bijutsu, 1974), no. 3053. Estimate: $2,500–3,500. 142. KUNIYOSHI: aiban uchiwa-e (22.8 × 29cm.); Natsu no yugure “A summer evening”, a beauty on a veranda with overhanging branches of a flowering tree, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Enshūya Matabei—very good impression and color, slightly soiled along bottom edge, minor stains on the bottom. Two other images from the same set, featuring hydrangea and peony, were sold in these Rooms, April 26, 1995, lots 247A and 248. Estimate: $2,500–3,500. 143. KUNIYOSHI: aiban uchiwa-e (20.8 × 29.9cm.); a woman on a terrace reading a libretto, from the series Enkyoku zōui “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, binding holes on left, paper thinned in upper left margin, otherwise good condition. Estimate: $3,000–4,000. 144. KUNIYOSHI: aiban uchiwa-e (20.7 × 29.3cm.); a woman by a koto reading a libretto, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, very slight stain along side edges, otherwise good condition. Estimate: $2,500–3,500. 145. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a woman on a terrace dancing with a fan, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression, color and condition. Estimate: $2,500–3,500. 146. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a woman reading a libretto and a cat dozing on her back, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, slightly stained along side edges, binding holes on left edge. Estimate: $3,000–4,000. 147. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.5cm.); a beauty on a terrace overlooking the flowering plum and bushes of a garden in snow carrying snow on a tray, the snow image from the series Bijin gekka setsu “Beauties, moon, flower and snow”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Kojimaya Jūbei—very good impression and color, slightly stained along edges, minute tear on upper left margin, otherwise good condition. Estimate: $3,000–4,000. 148. KUNIYOSHI: aiban uchiwa-e (23.2 × 30cm.); Ryo “Cool”, a woman dipping her wrists in the river over the edge of a boat, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—fine impression and color, left edge very slightly soiled, minute worm holes on lower margins, otherwise good condition. Estimate: $2,500–3,500. 149. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); Mizuhan “Water guard”, a woman standing by a tank of goldfish, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—very good impression and color, very slight stain along side edges, otherwise good condition. Another image from the same set, titled Hirune “Afternoon nap”, is illustrated in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), p. 289, and in Nakau Ei, Edo onna ukiyo-e meisaku ten (Exhibition of masterpieces of ukiyo-e of Edo women), (Osaka: D square, 1993), no. 66. Estimate: $2,000–3,000. 150. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.7cm.); Doyo mairi “Midsummer visit”, a woman carrying a tea cask beside a patterned screen, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—fine impression and color, binding holes on left edge, a minute worm hole in right margin, otherwise very good condition. Estimate: $3,000–4,000. 151. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.5cm.); Sensōji no yuki “Snow at Sensōji temple”, from the series Mutsu geshiki “Six views”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1854, second month, published by Iseya Sōemon—fine impression and color, slight stain along both side edges, otherwise good condition. Estimate: $3,000–4,000. 152. KUNIYOSHI: aiban uchiwa-e (22.7 × 30.1cm.); two geisha in identical costume on a terrace dancing with folding fans, signed Kuniyoshi ga, censor’s seal corresponding to 1854, fourth month, published by Ibaya Senzaburō—fine impression and color, slightly stained along side edges, binding holes on right. Estimate: $1,500–2,000. 153. KUNIYOSHI: aiban uchiwa-e (17.3 × 27.6cm. ea. approx.); a group of four prints comprising: a woman at a goldfish seller’s booth, signed Chooro Kuniyoshi ga; Sakura no seirei ryakuden “Abbreviated biographies of charming women”, signed Chooro Kuniyoshi ga and published by Tsujiyama Yasubei; and Hajimetsuki and Shunju from the series Gosekku no uchi “The five seasonal festivals”, signed Ichiyusai Kuniyoshi ga and Chooro Kuniyoshi ga, published by Kojimaya Jūbei—very good impressions and color, binding holes, the third and fourth with minor worm holes on top, the third with some minor stains. Estimate: $1,500–2,000. 167. HIROSHIGE: aiban uchiwa-e (22.5 × 29cm. ea. approx.); three figures with their facial features composed by the Chinese characters for zen (good) and aku (evil), entitled Zen aku hana no ayatsuri “Puppets manipulated by good and evil”, signed Hiroshige gihitsu and published by Ibaya Senzaburō; and Kyo Arashiyama, Togetsukyō “Togetsu bridge, Arashiyama, Kyoto” from the series Santo fūkei “Views of three cities”, signed Hiroshige ga, censor’s seal corresponding to 1854, fifth month—good impressions, the first slightly faded and toned, the second slightly soiled, rib marks with slight glue stains, some minute worm holes restored, pasted on paper on edges, both trimmed into the shapes of the fans. Estimate: $4,000–6,000. 168. HIROSHIGE: aiban uchiwa-e (21.8 × 29.5cm.); illustrating a riverbank and boats, signed Oju (by order) Hiroshige sha—good impression and color, slightly soiled, vertical centerfold line restored, restoration on corners and at the bottom near the center. Estimate: $3,000–4,000. 182. KUNIMARU: aiban uchiwa-e (22.5 × 29.3cm.); a bust portrait of a beauty with a pipe looking at a mirror stand against a purple and black-check background holding a pipe, signed Kunimaru ga and published by Ibaya Senzaburō—good impression, very good color, slightly soiled, rubbed and stained along edges, binding holes on right, a few minor worm holes. Estimate: $2,000–3,000. 183. KUNIHIDE: aiban uchiwa-e (22.7 × 29.5cm.); a beauty with a shamisen before a background of iris, entitled Meisho Kihōji Horikiri hanashobu “Famous place, Iris at Kihō Temple in Horikiri”, signed Kunihide ga, censor’s seal corresponding to 1853, second month, published by Masugin—very good impression and color, very slight stain along edges, binding holes on left edge. Estimate: $2,000–3,000. 184. KUNIYOSHI, KUNICHIKA AND YOSHITSUYA; three uchiwa-e of umbrellas, one of blue ground with Yoshikuni seal of Kuniyoshi, another with inscription Tokiwazu uta and crest, and another of the reverse of the second, the second and third published by Ibaya Kyūbei; a diptych of a theatrical scene, actor Ichikawa Danjūrō IX in the Shibaraku role within a mimasu crest border, signed (by order) Toyohara Kunichika hitsu, dated Meiji 11 (1878) and published by Tanaka Shōzō; and a sumizuri-e of a theatrical scene, including the name of the stage-carpenter and property man, signed Ichieisai Yoshitsuya ga—very good impressions and color, slightly soiled, slight stain along upper edges and minor worm holes near edges, the second, very good color, slightly creased on upper left corner on the left panel, the third, slightly toned, soiled, creased and rubbed, some restorations. Estimate: $2,000–3,000. -
NEWSoftcover auction catalogue, 267 x 209 mm, pictorial wrappers with red lettering to cover, black and white lettering to spine; pp. [2] 3-179 [1]; auction held at Christie’s New York on Thursday, 24 April 1997, featuring lots 60-340, with properties from Japan Society, Inc., N.Y., Mary Griggs Burke, a lady, a European private collection, and various sources; includes descriptions and images of Japanese paintings, prints, ceramics, lacquer, and other works of art.Title-page: JAPANESE ART | Properties from | JAPAN SOCIETY, INC., N.Y. | MARY GRIGGS BURKE | A LADY | A EUROPEAN PRIVATE COLLECTION | AND FROM VARIOUS SOURCES | Auction | Thursday, 24 April 1997 at 11.00 a.m. approx. (Lots 60-194) | and at 2.00 p.m. (Lots 195-340) | 502 Park Avenue at 59th Street | New York, New York 10022 | Sale Code | In sending written bids or making inquiries, this sale should be referred to as #8670 | Viewing | […] |Christie's | 502 Park Avenue at 59th Street | New York, New York 10022 | Telephone: (212) 546 1000 | Internet: | http://www.christies.com | (40) Registered at the above address No. 1128160 | {CHRISTIE'S device} ||
Sixteen Fan Prints in this catalogue. 248. KUNIYOSHI: aiban uchiwa-e (22.5 × 29.4 cm.); entitled Hana no nishiki "Flower brocade", a half-length portrait of a beauty on a peony-decorated ground", signed Kuniyoshi ga and dated 4/1855—very good impression and color, some minute worm holes, binding holes on right. — Estimate: $2,500–3,500. 280. HIROSHIGE: aiban yoko-e, uchiwa-e (21.8 x 28.4 cm.); Tokaido, zuso Hakone sanchō kosui no zu “View of the lake in mountains at Hakone on the Tokaido between Izu and Sagami province”, and subtitled Bōsetsu “Evening snow”, from the series Omote ura chiji hakkei “Eight views of stations of the Tokaido and Kiso-kaidō”, signed Hiroshige ga—very good impression and color, faint vertical center fold restored on reverse, slightly soiled near corners. PROVENANCE: Theodor Scheiwe, sold in these Rooms, March 21, 1989, lot 264. PUBLISHED: Rose Hempel, Ausstellung Japanische Holzschnitte (Munster, 1959), no. 244, p. 145; Rose Hempel, Kunst Aus Japan (Essen: Villa Hügel, 1972), no. 496, p. 273; For another impression see Suzuki Juzo, Hiroshige (Tokyo: Nihon keizai shimbun, 1970), pl. 46. — Estimate: $10,000-15,000. 281. HIROSHIGE: aiban uchiwa-e (22.2 x 28.1 cm.); Yotsuya Shinjuku tsutsumi no hana “Cherry blossoms on the bank at Shinjuku, Yotsuya”, three women on a terrace overlooking cherry blossoms on the opposite bank in the night, signed Hiroshige ga, dated 1856, second month, and published by Ibaya Senzaburo—very good impression, color and condition. —Estimate: $8,000-10,000. 282. HIROSHIGE: aiban uchiwa-e (21.9 × 29.2 cm.); Sugita no baien "Plum garden at Sugita", signed Hiroshige ga and published by Sanoya Kihei—very good impression and color, binding holes on right restored, a minute repair on lower left. — Estimate: $8,000-10,000. 283. HIROSHIGE: aiban uchiwa-e (22.2 × 29.7 cm.); Buya Tsukuda no isaribune "Fishing boats at Tsukudajima in Musashi province", from the series Shokoku meisho "Famous places in the various provinces", signed Hiroshige ga over the publisher’s seal, published by Dansendō [Ibaya Senzaburō]—very good impression and color, faint center fold reinforced on the reverse, margins slightly soiled. PROVENANCE: Alexis Rouart, sold American Art Association, New York, February 6, 1922, lot 210; This impression was sold in these Rooms, December 4, 1984, lot 212. — Estimate: $10,000-15,000. 284. HIROSHIGE: aiban uchiwa-e (22.6 × 29 cm.); a tree and branches of yaezakura (double cherry blossoms) on a yellow background, signed Hiroshige hitsu and published by Dansendō [Ibaya Senzaburō]—very good impression and color, slightly stained, restoration on right. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983); PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 77. — Estimate: $6,000-8,000 285. HIROSHIGE: aiban uchiwa-e (23.2 × 29.4 cm.); Rokugo no watashi "The ferry at Rokugō", from the series Meisho fūkei "Famous landscapes", signed Hiroshige ga—very good impression and color, a worm hole in lower left margin, pasted on paper on upper corners; EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983); PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 60. — Estimate: $6,000-8,000. 286. HIROSHIGE: aiban uchiwa-e (21.9 × 29 cm.); Shinshu, Suwako yukihare "Clear weather after snow at Lake Suwa in Shinano province", from the series Fuji sanjūrokkei no uchi "The thirty-six views of Mount Fuji", signed Hiroshige ga, dated 1842, and published by Ibaya Kyubei—very good impression and color, margins slightly soiled, vertical center fold restored.. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 51. — Estimate: $5,000-7,000. 287. HIROSHIGE: aiban uchiwa-e (22.4 × 28.7 cm.); Kodai buto "Classical dance", signed Ryūsai and published by Maruya Seijiro—good impression and color, slightly foxed, some minor worm holes, slightly creased, mat stain along edges, pasted on paper on upper corners, minor tear on upper edge. — Estimate: $3,000-4,000. 288. HIROSHIGE: chūban uchiwa-e (24.6 × 18.6 cm.); Kai Kawaguchi kosui no zu "View of the lake at Kawaguchi in Kai province", signed Hiroshige hitsu—good impression and color, slightly soiled, faint vertical center fold, binding holes on right restored. — Estimate: $3,000-4,000. 289. HIROSHIGE: aiban uchiwa-e (22.8 × 28.2 cm.); Karasaki no hitotsu matsu "Single pine tree at Karasaki", from the series Omi hakkei "Eight views of Lake Biwa", signed Hiroshige ga, dated 1852, seventh month, and published by Enshuya Matabei—very good impression and color, minute stains in lower right, pin holes on upper corners, vertical center fold. — Estimate: $5,000-7,000. 290. HIROSHIGE: aiban uchiwa-e (23.4 × 30 cm.); three stems of peonies on a blue background, signed Hiroshige ga, dated 1857, second month, and published by Marukyudo—very good impression and color, holes on right restored, some minor worming restored, otherwise good condition. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 76. — Estimate: $10,000-15,000. 291. HIROSHIGE: aiban uchiwa-e (22 × 29.8 cm.); Kodai meiyo shiki no hana "Flowers of the four seasons with historical associations", subtitled Natsu, Mikawa Yatsuhashi no tojaku "Summer, Iris at Yatsuhashi in Mikawa province" and a rectangular cartouche with a portrait of the poet Ariwara no Narihira, signed Hiroshige ga and published by Surugaya—very good impression and color, margins slightly soiled, binding holes on left restored. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 52. — Estimate: $10,000-15,000. 292. HIROSHIGE: aiban uchiwa-e (22.1 × 26 cm.); a seated woman taking a sake cup from a boat-shaped porcelain bowl under a night river landscape with full-moon, signed Hiroshige ga, dated 1852, fourth month, and published by Ibaya Senzaburo—very good impression and color, slightly stained, a minute worm hole restored. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 69. — Estimate: $4,000-6,000. 312. HIROSHIGE II: aiban uchiwa-e (22.7 × 29.1 cm.); an aizuri-e “blue print”, Tsunohazu juniso otaki “Great waterfall of the twelve shrines at Tsunohazu”, signed Hiroshige ga, dated 1861—very good impression and color, corners slightly soiled, binding holes and minor worming on left restored. PROVENANCE: A. Maroni. — Estimate: $4,000-6,000. 313. HIROSHIGE II: aiban uchiwa-e (22.7 × 29.7 cm.); Owari, Atsuta kaigan “Atsuta Beach in Owari province”, from the series Shokoku meisho zue “Illustrations of famous places in the various provinces”, signed Hiroshige ga, seal dated [1862], and published by Iseya Soemon—very good impression and color, slightly browned along lower edge. — Estimate: $8,000-10,000. -
NEWTwo softcover volumes, 295 × 210 mm each, uniformly bound in wrappers with black and grey lettering and a vignette to the front, lettering to the spine, and vignette to the back; both housed in a black cloth slipcase with gilt lettering in a gilt octagonal frame. Vol. 1: Pale yellow wrappers, vignette in colour, lettering, two green flyleaves in the front and back, pp.: [1] 2–167 [1]; contains a detailed study of Hiroshige’s travel prints, including the Tōkaidō and Kisokaidō series. Title-page: PRINTS | BY UTAGAWA HIROSHIGE | IN THE JAMES A. MICHENER | COLLECTION | VOLUME 1 | Essay by Kobayashi Tadashi | Catalogue by Howard A. Link | {publisher’s device} Honolulu Academy of Arts 1991 || Vol. 2: Cream wrappers, vignette in black and white, lettering, pp.: [1] 2–64; provides additional analysis, notes, and a selected bibliography. Title-page: PRINTS | BY UTAGAWA HIROSHIGE | IN THE JAMES A. MICHENER | COLLECTION | VOLUME 2 | Essays and Catalogue Commentaries | by Howard A. Link | {vignette portrait} | {publisher’s device} Honolulu Academy of Arts 1991 || Contributors: Utagawa Hiroshige (Japanese, 1797–1858) – artist. James A. Michener (American, 1907–1997) – collector. Kobayashi Tadashi (Japanese, born 1941) – essayist. Howard A. Link (American, dates unknown) – catalogue compiler. Honolulu Academy of Arts (now Honolulu Museum of Art) – publisher. -
NEWOrigin: Seychelles, endemic to Praslin and Curieuse Islands
Weight: 812 g
Dimensions: 210 × 215 × 135 mm
Condition: Naturally aged, with a dark, textured surface and visible patinaThis Coco de Mer seed, also known as the double coconut, features its characteristic bilobed shape with a deep central groove resembling the human form. The dark brown to black surface exhibits natural striations, a fibrous texture, and a slightly glossy patina. Specks of residue and natural imperfections indicate age and environmental exposure.
One side presents a narrower, well-defined cleft, while the opposite side is broader and more rounded, emphasizing its unique form and symmetry. The seed's dense, heavy structure aligns with the species’ reputation as the largest and heaviest seed in the plant kingdom.
Native exclusively to the Seychelles, the Coco de Mer was historically surrounded by mystical associations, once believed to be a fruit from an underwater tree. This specimen has been naturally preserved, showcasing the organic beauty and rarity of the species.
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NEWPaperback volume with quarter red cloth backing 257 x 185 mm, black lettering in English and Japanese to front, red seals fac-simile to front and back; pp. [6] 1-6, 2-6 plates verso only, 7-26 [4] 1-66 [2] 7-88 plates verso only [2], some plates in colour with captioned tissue guards, incl. frontispiece memorial portrait of Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Limited edition of 275 copies, this is copy № 254. Title-page: CATALOGUE | OF | THE MEMORIAL EXHIBITION | OF | HIROSHIGE'S WORKS | on the 60th Anniversary of His Death. | {red diamond} | Compiled and Published | BY | S. WATANABE. | (Ukiyoye Association) | TOKYO. | 1918. || Author: Shōzaburō Watanabe [渡辺 庄三郎] (Japanese, 1885 – 1962) Five fan prints: № 173. REFLECTED MOON ON THE SUMIDA. № 174. TOTO SHINAGAWA NO KEI. Shinagawa Beach, Yedo. № 179. ZUSÕ HAKONEYAMA YAKO NO ZU. Night Ascent of Hakone Pass. Published by Dansendo. № 180. TSUKI NO SANKEI. Beauties in a boat enjoying evening cool at Ryōgoku, from Three Moonlight Scenes. Published by Dansendo. № 182. SUMIDAGAWA HASHIBA WATASHI VUKI NO KEI. A Ferry Boat at a Sumida River Landing in Snow. -
NEWHardcover volume 290 x 225 mm, bound in blue cloth with red lettering to front and spine, pictorial endpapers, in glossy black pictorial dust jacket, pp.: [1-7] 8-126 [2], profusely illustrated in colour. Title-page: GERARD INGOLD | Les boules | presse-papiers | et les sulfures | DES CRISTALLERIES | DE SAINT LOUIS | {publisher’s device Hermé} || Author: Ingold, Gerard (French, 1922 – 2011) -
NEWAdvertisement, cover sheet from the album “Improvisations” — Artists Equity Fund, Inc. presents Spring Fantasia Masquerade Ball, May 15, 1953, Hotel Astor. Comb-spine bound pictorial album of 66 colour plates; Limited Edition of 2000 copies; chromolithography on wove paper 305 x 234 mm; marginal holes after plastic comb-spine binding. Recto: Improvisations | ARTISTS EQUITY | MASQUERADE | BALL | 1953 | may 15 | HOTEL ASTOR | Vertès || Verso: “SCHENLEY | DISTRIBUTORS, INC | 350 – 5 AVE NYC. | A. Refregier || Reference: Laster's Fine Art & Antiques; The Cary Collection. Contributors: Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) Anton Refregier (Russian-American, 1905 – 1979) Bertram A. Goodman (American, 1904 – 1988) -
NEWHardcover volume 257 x 180 mm housed in marbled slipcase 265 x 180 mm with opening outlined in brown morocco, binding by René Kieffer in brown morocco, mosaic vignette in gilt and colours stamped to front and gilt vignette to rear board, spine with raised bands and gilt lettering, gilt corners and fillets, gilt bookbinder signature inside, bookbinder’s ticket to flyleaf verso, marbled endpapers, top edge gilt; printed on thick wove paper produced by Perrigot-Masure; nine coloured etchings and 45 woodcuts after C. Picart le Doux; original woodcut pictorial wrappers preserved, [1-6] 7-67 [4] plus nine plates; enriched with a suite of uncoloured etchings in two states and a suite of woodcuts in ochre. Limitation: The edition is limited to 100 copies, printed on October 20, 1909, at Imprimerie de l'Art Décoratif. This copy was printed for Mademoiselle E. Kieffer. Title-page (brown and black): ALBERT SAMAIN | HYALIS | Le petit Faune aux yeux bleus | eaux fortes et bois gravés originaux | de C•PICART•LE•DOUX | {woodcut vignette} | COLLECTION•ECLECTIQUE | A•BLAIZOT | EDITEUR | 26•Rue le Peletier / RENÉ KIEFFER | RELIEUR D’ART | 47•R.St André des Arts / PARIS • 1909 || Imprint: TIRAGE UNIQUE | de cette édition de grand luxe | à 100 Exemplaires | contenant : | Trois états des eaux-fortes, dont l'eau-forte pure | et un tirage à part des bois | Exemplaire imprimé spécialement pour : | Mademoiselle E. KIEFFER | {woodcut vignette} || COLLABORATEURS | C. PICART LE Doux, Peintre-Graveur | ~ | E. DURAND, Directeur de l'Imprimerie Typographique | MAGORIEC, Compositeur | AYRAULT, Pressier | ~ | Eaux-fortes tirées par A. ROUTY | ~ | CARACTÈRES DE GIRALDON | fondus par la maison DEBERNY | ~ | Papiers à la forme de PERRIGOT-MASURE | ~ || Colophon: {woodcut vignette} | ACHEVÉ D'IMPRIMER | le 20 Octobre 1909 | par l'Imprimerie de l'Art Décoratif || Contributors: Albert Samain (French, 1858 – 1900) – author. Charles Alexandre Picart Le Doux (French, 1881 – 1959) – artist. René Kieffer (French, 1876 – 1963) – bookbinder. Auguste Blaizot (French, 1908 – 1941) – publisher. -
NEWHalf-bound green over grey cloth flapped folder 530 x 370 mm with laces, 3 in-folio folded leaves with text (6 pages) and drawn title-page plus 30 colour offset lithographs 510 x 350 mm after Marcel Vertès. Print run limited to 331 copies with 278 on Sirène, of which this is copy № 51. Title-page: VERTÈS | Nous les Abstraits | Préface de | Roger Peyrefitte || Imprint: © 1960 BY ÉDITIONS LÉDA, 36, RUE ÉTIENNE-MARCEL, PARIS 2° || Colophon: ACHEVÉ D'IMPRIMER | LE 18 AVRIL 1960 |PAR | JACQUES LONDON, IMPRIMEUR | POUR LA PRÉFACE | ET | RENÉ GUILLARD | POUR LES LITHOGRAPHIES || Limitation: CET OUVRAGE A ÉTÉ TIRÉ A 331 EXEMPLAIRES | DONT : UN EXEMPLAIRE UNIQUE COMPORTANT TROIS DESSINS | ORIGINAUX ET DEUX DESSINS ORIGINAUX REFUSÉS, LA | SUITE COMPLÈTE DES PLANCHES AQUARELLÉES A LA | MAIN PAR L'ARTISTE ET QUINZE CROQUIS ORIGINAUX | DE PRÉPARATION. (EXEMPLAIRE NUMÉROTÉ UN.) | 5 EXEMPLAIRES SUR VÉLIN D'ARCHES COMPORTANT | DEUX DESSINS ORIGINAUX ET UN DESSIN ORIGINAL | REFUSÉ, TROIS PLANCHES AQUARELLÉES A LA MAIN, DEUX | PLANCHES REFUSÉES ET CINQ CROQUIS ORIGINAUX, | NUMÉROTÉS DE 2 A 6. | 17 EXEMPLAIRES SUR VÉLIN D'ARCHES COMPORTANT UN | DESSIN ORIGINAL, UNE PLANCHE REFUSÉE ET UN CROQUIS | ORIGINAL, NUMÉROTÉS DE 7 A 23. | 278 EXEMPLAIRES SUR OFFSET SIRÈNE, NUMÉROTÉS DE 24 A 301 | 30 | EXEMPLAIRES HORS COMMERCE NUMÉROTÉS H.C. I | A H.C. XXX. 51 || Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist/author Pierre Roger Peyrefitte (French, 1907 – 2000) – author/preface. Imprimerie London (Paris); Jacques [Jankiel] London (Jewish-Ukrainian-French, 1910 – 2011) – printer/text. René Guillard (French, 1889 – after 1961) – printer/lithographs. -
NEWSoftcover volume 330 x 255 mm, cream French flapped wrappers with crimson lettering to front in glassine dust cover housed in gilt ivy-diapered 340 x 265 mm clamshell box with full-length label to vertical side, text and 18 in-text colour lithographs printed on 18 quarto unbound gatherings of thick paper watermarked BFK Rives, plus 10 full-page colour lithographs, hand-painted with watercolours. Copy enriched with an autographed dedication to half-title and a suite of the 18 in-text b/w (uncoloured) lithographs on Pur Fil Marais paper. The print run on November 22, 1948, limited edition of 350 copies, 40 copies on vélin de Rives paper, of which this is copy № 67. Title-page (red and black): PIERRE HAREL-DARC | QUAND ON PARLE | D'AMOUR | ou | Le Vrai Dialogue Sentimental | ILLUSTRATIONS DE | JEAN-GABRIEL DOMERGUE | {fleuron} | COLLECTION DU LIERRE | PARIS | 1948 || Colophon: Ce livre composé en caractères Garamond Corps dix-huit a été achevé d'imprimer le 22 novembre 1948 par Georges Girard pour la typographie, Maurice Beaudet pour la lithographie et « le coloris» pour les aquarelles le tirage se limite à trois cent cinquante exemplaires se décomposant comme suit : Dix exemplaires sur vélin de Rives avec suites en couleurs et une aquarelle numérotés de 1 a 10 ; Vingt exemplaires sur vélin de Rives avec suites en couleurs et un dessin, numérotes de 11 a 30 ; Quarante exemplaires sur vélin de Rives avec une suite en noir, numérotes de 31 a 70 ; Deux cent quatre-vingts exemplaires sur vélin Pur Fil du Marais, numérotés de 71 a 350 ; quelques exemplaires hors commerce ont été réservés a l'auteur, a l'illustrateur, a l'éditeur et a ses amis. Exemplaire 67. Contributors: Pierre Maurice Harel [Harel-Darc] (French, 1890 – 1965) – author Jean-Gabriel Domergue (French, 1889 – 1962) Georges Girard (French, 20th century) – printer/text Maurice Beaudet (French, 20th century) – printer/lithography -
NEWHardcover volume 175 x 131 mm bound in red half-morocco over marbled boards, spine with faux raised bands with gilt lettering, marbled endpapers, 3 laid paper fly leaves in the front and 3 in the rear, publisher’s original wrappers preserved, pp.: [6] 1-302 [2], collated 18mo: π3 1-1518 178, i.e. 155 leaves incl. front and back wrappers and 10 photogravures after Martin Van Maële (pp. 21, 55, 81, 97, 133, 153, 197,226, 259 et 295), within collation; front wrapper with van Maële's vignette, signed. Title-page (red and black): AIMÉ VAN ROD | Nos Belles | Flagellantes | Orné de 10 Dessins | hors texte de Martin VAN MAËLE | PARIS | ÉDITION PARISIENNE | (sticker) 9, Rue du Faubourg-Montmartre, 9 | 1907 || Colophon: SAINT-AMAND (CHER). — IMPRIMERIE BUSSIÈRE. Catalogue raisonné: S. A. Perry (2015) № 44, p. 43; Luc Binet № 61, pp. 212-218; ibid. № 132, p. 850. Contributors: Van Rod, Aimé (fr. rod-lover) – anonymous writers collective on whipping. Maurice François Alfred Martin van Maële [Martin van Maële] (French, 1863 – 1926) – artist. Dardaillon, Jules (French, 1859-19..) and Mme Roberts – publishers. Carrington, Charles (British, 1867 – 1921) – publisher. -
NEWHardcover volume 211 x 141 mm, bound in quarter black buckram over green buckram boards, gilt lettering to spine, pictorial dust jacket with white lettering, ink inscriptions and paper clipping pasted to free endpaper, laid-in two newspaper clippings – January 26, 1970 and late 1950s; pp.: [1-10] [2] 3-342, plus 3 photo plates, extraneous to collation. 1st edition, 2nd printing, October 1953. Title-page: CARESSE CROSBY | THE | PASSIONATE | YEARS | {publisher’s device} | THE DIAL PRESS […] 1953 • NEW YORK || Imprint: Copyright, 1953, by Caresse Crosby | Library of Congress Catalog Card Number: 52-10093 | FIRST PRINTING, MARCH 1953 | SECOND PRINTING, OCTOBER 1953 | DESIGNED BY WILLIAM R. MEINHARDT | PRINTED IN THE UNITED STATES OF AMERICA BY | THE HADDON CRAFTSMEN, SCRANTON, PA. Contributors: Caresse Crosby [Mary Phelps Jacob] (American, 1892 – 1970) – author. Haddon Craftsmen (Scranton, PA) – printer. The Dial Press – publisher (1923-85)honesterotica.com: Here is what Caresse wrote about May and Frans during their time together in interwar Paris, from the copy of her autobiography which she inscribed to them with the telling inscription ‘our most passionate years with you!’: ‘Frans de Geetere came to France dragging his barge behind him, and having manoeuvered the dikes of Holland and the frontiers of Belgium and the northern waterways of France, he strode into Paris one summer evening towing his dwelling with May den Engelsen, his timid blonde bride atop of it – he on the footpath, a stout rope about his lean and muscular middle. At twenty-one with the sunburned torso, a crest of wild black curls, and snapping black eyes, Frans was a storybook character, and May, his Netherlands wife, was as frail and honey-golden as some princesse lointaine. There were two tortoiseshell kittens aboard and a hold stuffed with paintings of flowers and nudes in profusion, for Frans had come to Paris for Art’s sweet sake, not to study because he was already confident and bold, but to compete in the marketplace with the greatest artists of the day.’
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NEWHardcover volume 257 x 172 mm in a suede slipcase 264 x 175 mm, bound by Ateliers Babouot in yellow morocco, front board gilt-stamped with frames and borders, flat spine with gilt in compartments, brown label lettered in gilt, grey moire endpapers, yellow paper faux-titles, pp. [i-v] vi-x [xi] [3] [2] 1-531 [532] [4], i.e. 552 pp. total, profusely illustrated with full-page and in-text b/w and toned reproductions; top edge gilt. Title-page (gilt and black): DICTIONNAIRE | DES ŒUVRES | ÉROTIQUES | DOMAINE FRANÇAIS | PRÉFACE DE PASCAL PIA | {vignette} | MERCURE DE France || Imprint: Tous droits de reproduction, de traduction et d'adaptation réservés pour tous les pays. © MERCURE DE FRANCE, 1971. Colophon: Achevé d'imprimer le 11 octobre 1971 par Firmin-Didot Paris-Mesnil-Ivry sur couche job mat des papeteries Dujardin ; photogravure Haudressy-Ronan ; reliure de Babouot ; maquette de Gilbert Minazzoli et Virginia Silva. Imprint : № d'édition : 5398 – № d'impression : 6384; Dépôt légal : 4e trimestre 1971. Contributors: Pascal Pia [Pierre Durand] (French, 1903 – 1979) – author/compiler. -
NEWHardcover volume 343 x 268 mm, binding by Grimm et Bleicher (Munich) in red cloth with author’s gilt fac-simile to front and gilt lettering to spine, in matching red cloth slipcase, pink endpapers, pp. [1-6] 7-13 [14] [82] (i.e. 48 leaves) with 84 photomechanically reproduced drawings after Leonor Fini. A copy of an unlimited print run. Title-page: Léonor Fini | Les Merveilles de | la Nature || Colophon: JEAN-JACQUES PAUVERT, 8, rue de Nesle, PARIS-VI. © 1971 Editions Kurt Desch GmbH, Munich. Tous droits réservés, y compris ceux de reproductions partielles et de reproductions photomécaniques. Papier des Papeteries Scheufelen, Oberlenningen. Mise en page et impression des entreprises graphiques R. Oldenbourg, Munich. Reliure conçue par Christel Aumann, Munich, et réalisée par Grimm et Bleicher, Munich. Imprimé en Allemagne, 1971. Il a été tiré, spécialement pour Jean-Jacques Pauvert et la Librairie du Palimugre, cent exemplaires numérotés de 1 à 100 contenant une gravure originale de Léonor Fini. Reference: www.honesterotica.com Contributors: Leonor Fini (French, 1907 – 1996) – artist. Severo Sarduy (Cuban, 1937 – 1993) – author/poetry. Jean-Jacques Pauvert (French, 1926 – 2014) – publisher. Kurt Desch (German, 1903 – 1984) – publisher. -
NEWHardcover volume 287 x 237 mm, bound by San Remo (signed) in red full straight-grained morocco, boards decorated with a frame of gilt and blind-stamped fillets with fleurons in the corners, spine with faux raised bands, gilt in compartments snd gilt lettering, top edge gilt, other untrimmed; pastedown with grey percaline in a red morocco frame with gilt fillet, grey percaline free endpaper; publisher’s original wrappers preserved and bound in, printed on wove paper with “Johannot” watermark. Collation: 4 fly leaves, 1st with the previous owner’s ‘EXLIBRIS JEAN PERISSE’ imprint, front wrapper, blank, h.t., t.p., pp. 1-161 [162], blank, plus 17 full-page and 2 in-text hand-coloured etchings, incl. frontispiece, A propos / Louis Icart fac-simile to verso, 6 leaves of cancelled plates, colophon, blank, rear wrapper, spine, 3 fly leaves. Title-page (red and black): PROSPER JOLYOT DE CRÉBILLON | LA | NUIT | ET LE | MOMENT | imagé de vingt-cinq eaux-fortes originales, en couleurs, | par | LOUIS ICART | {fleuron} | GEORGES GUILLOT, ÉDITEUR | 7, RUE PERRONET | PARIS || Colophon: La nuit et le moment de Prosper de Crébillon, réalisé par les éditions d'art Georges Guillot, est image de vingt-cinq eaux-fortes originales en couleurs, dont cinq en suite libre, gravées par Louis Icart. — Son tirage a été limité a 525 exemplaires, a savoir : un exemplaire unique sur Japon Super Nacré portant le n° 1, comprenant trois dessins originaux, une suite sur chine avec trois états des eaux-fortes, les gravures dans leur état définitif et un cuivre encré. — Quinze exemplaires sur Japon Impérial numérotés de 2 a 16, et neuf sur Japon Ivoire numérotés de 17 a 25, comprenant un dessin original, deux états des eaux-fortes, les gravures dans leur état définitif et un cuivre encré. — cent exemplaires sur Rives a la Forme numérotés de 26 a 125, comprenant un dessin original, une suite sanguine et les gravures dans leur état définitif. — Cent-cinquante exemplaires sur Arches a la Forme numérotés de 126 a 275, comprenant les eaux-fortes dans leur état définitif en couleurs. — Deux-cents cinquante exemplaires sur Johannot a la Forme numérotés de 276 a 525, comprenant les eaux-fortes dans leur état définitif en couleurs. — Quinze exemplaires sur différents papiers, comprenant les eaux-fortes dans leur état définitif en couleurs, réservés a l'artiste et a l'éditeur, dénommés exemplaires d'artiste et numérotés de I a XV. — Cette édition a été achevé d'imprimer a paris. Pour la typographie, sur les presses de Pierre Gaudin ; et pour les eaux-fortes, dans les ateliers en taille-douce de Manuel Robbe, le 30 avril 1946. Limitation: Print-run on April 30, 1946, limited to 525 copies plus 15 copies reserved for artist and publisher (I-XV); copies №№ 276-525 on Johannot paper, of which this is copy № 367. Catalogue raisonné: honesterotica.com; William R. Holland pp. 133-147. Contributors: Claude-Prosper Jolyot de Crébillon [Crébillon fils] (French, 1707 – 1777) – author. Louis Icart (French, 1888 – 1950) – artist. Georges Guillot (French) – publisher. Pierre Gaudin – printer/text. Ateliers en taille-douce de Manuel Robbe (French, 1872 – 1936) – printer/plates. Jean Périssé (French, b. 1947) – provenance. -
NEWSoftcover volume 245 x 195 mm in cream French flapped wrapper with blue lettering to front, printed on wove paper with Arches watermarkes, header and footer framed in blue arabesque; pp.: ffl [1-4] 5-124 [125] [3] ffl, i.e. 64 leaves plus 12 colour lithographs by Schem (Raoul Serres), incl. frontispiece. A print run of 325 copies, of which this is copy № 69 on Arches vellum. Title-page (blue and black): MARQUIS DE SADE | HISTOIRE | DE JÉRÔME | ILLUSTRÉE D'EAUX-FORTES ORIGINALES | REHAUSSÉES DE COULEURS | PAR UN | ARTISTE INCONNU | PARIS | CHEZ TOUS LES LIBRAIRES | MCMXXXVI || Colophon: JUSTIFICATION DU TIRAGE. Cette édition du Marquis de Sade, illustrée de 12 eaux-fortes originales d'un artiste célèbre, a été strictement limitée à 325 exemplaires sur grand vélin d'Arches à la forme. N° 1. Exemplaire unique sur Japon impérial, comprenant l'état définitif en couleurs des I2 eaux-fortes, une suite en noir avec remarques un cuivre et les 12 dessins originaux. Nos 2 et 3 sur Japon impérial, comprenant l'état définitif en couleurs des 12 eaux-fortes, une suite en noir avec remarques et un dessin de l'artiste. Nos 4 à 12 sur grand vélin d'Arches à la forme, comprenant l'état définitif en couleurs des I2 eaux-fortes, une suite en noir avec remarques un cuivre et un dessin de l'artiste. Nos 13 à 50 sur grand vélin d'Arches à la forme comprenant l'état définitif en couleurs des 12 eaux-fortes et suite en noir avec remarques. Nos 51 à 325 sur grand vélin d'Arches à la forme avec l'état définitif en couleurs des 12 eaux-fortes. Catalogue raisonné: Dutel III № 1697, p. 199. Contributors: Donatien Alphonse François, Marquis de Sade (French, 1740 – 1814) – author. Schem [real name Raoul Serres] (French, 1881– 1971) – artist. -
NEWSoftcover volume 245 x 192 mm in a slipcase 153 x 192 mm, cream parchment flapped wrappers with lettering to front and spine, unbound, margins untrimmed, printed on wove paper, collated in 16 unbound gatherings, unsigned, text in pink arabesque frame with a round vignette in the bottom; the contents is similar to previously published Douze douzains de dialogues ou petites scènes amoureuses by Pierre Louÿs (see LIB-3144.2023 and LIB-2819.2021 in this collection. Pagination: [1-8] 9-124 [125 colophon] [3 blanks], .i.e. 64 leaves plus 12 lithographic plates, extraneous to collation. Plates are attributed to Jean Berque. Print run of 153 copies, of which this is copy № 45. A typical case of a clandestine reproduction of erotic text with quickly made salacious illustrations during the occupation of France by the Nazis. Title-page: Pierre Louys | — | DIALOGUES | ou | Petites Scènes Amoureuses | 1943 | LES ÉDITIONS SOUS LE MANTEAU | LORIENT || Colophon: CET OUVRAGE, NON DESTINÉ A ÊTRE MIS DANS LE | COMMERCE, A ÉTÉ TIRÉ A CENT-CINQUANTE-TROIS | EXEMPLAIRES, SAVOIR : 3 EXEMPLAIRES SUR ARCHES A LA FORME, Nos 1 A 3. | 150 EXEMPLAIRES SUR RIVES PUR FIL, Nos 4 A 153. | Exemplaire N 00,045 || Catalogue raisonné: Dutel III № 1397, p. 130. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Jean Berque (French, 1896 – 1954) – atrist. -
NEWA softcover volume 285 x 190 mm in cream French flapped wrapper and glassine dust cover, with lettering to front, pp.: [1-8] 9-201 [202] [4], i.e. 103 leaves, incl. frontispiece, ‘Fin’ page and leaves within the wrappers. Title-page vignette, full-page and in-text illustrations, and tailpieces after Feodor Rojankovsky by au pochoir reproductions in colour. Print run limited to 200 numbered copies, of which this is № 14. Title-page: P. L. | TROIS FILLES | DELEUR MÈRE | {vignette} | AUX DÉPENS D'UN AMATEUR | ET POUR SES AMIS || Limitation: Le présent ouvrage a été tiré à | deux cents exemplaires tous numérotés | EXEMPLAIRE 14 || Catalogue raisonné: Dutel III № 2522, p. 391; Pia II № 1341, p. 700. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. Feodor Rojankovsky [Rojan; Рожанковский, Фёдор Степанович] (Russian-American, 1891 – 1970) – artist. As for the illustrations, Pascal Pia (1978) in Les Livres de l'enfer does not provide any attribution. Jean-Pierre Dutel in his Bibliographie des ouvrages érotiques publiés clandestinement en français entre 1920 et 1970 (2005) attributes the illustrations to René Ranson (René Gontran Ranson, 1891 – 1977). After that, many antiquarian dealers and bloggers (John Kruse of johnkruseblog) repeat that wrongful attribution made by Victor Arwas. Now, Mr. Dutel has instructed me to inform the audience that the attribution in Bibliographie des ouvrages érotiques was wrong and that the illustrations for this edition were produced by Feodor Rojankovsky. -
NEWSoftcover volume 250 x 190 mm, French flapped pink wrapper with glassine dust cover, lettering to front, pp.: [2 blanks] [2 h.t./blank] [2] 3-87 [88] [2 blanks] [2colophon/blank] [2 blanks], i.e. 49 leaves total plus 12 etchings incl. frontispiece; laid paper; all margins untrimmed. Limitation: The print run of 150 copies; this copy bears number 21 (one of 25 copies printed on ‘Chinese’ paper). Title-page: GAMIANI | OU | DEUX NUITS D'EXCÈS | ILLUSTRÉ DE DOUZE EAUX-FORTES | PAR UNE FEMME | BRUXELLES | AU DÉPENS D'UN AMATEUR || Similar lettering to the front wrapper. Colophon: JUSTIFICATION | Il a été tiré de cet ouvrage : 2 exemplaires sur japon impérial, numérotés 1 et 2; 25 exemplaires sur chine, numérotés de 3 à 27; 28 exemplaires sur papier de Montval, numérotés de 28 à 55; 95 exemplaires sur papier de Vidalon, numérotés de 56 à 150. Exemplaire N° 21. Catalogue raisonné: Dutel III № 1641, pp. 185/6. Contributors: Alfred de Musset (French, 1810 – 1857) – author. May [Marie-Jeanne] den Engelsen (Dutch-French, 1900 – 1968) – artist Gaston Coquette, possibly Hubert Gaston Coquette (French, 1878 – 1969) ”Gaston Coquette, a printer who worked at 69, rue de la Glacière in the 13th arrondissement [in Paris]” – printer/publisher. Seller’s description: Un volume in-4 tellière (245 x 195 mm) de 88 pp., 2 ff, couverture rempliée en papier rose imprimée en noir. Illustré de 12 eaux-fortes de May den Engelsen. Tirage limité à 150 ex. L'un des 25 ex. (n° 21) sur chine. La gravure a certainement été réalisée à bord de la péniche La Marie-Jeanne, avec la complicité du compagnon de l'artiste, Frans de Geetere (Belgian, 1895 – 1968). Si quelques éléments biographiques de Frans sont faciles d'accès, les dates de naissance et de décès de May demeurent inconnues. L'impression typographique sort des presses de Gaston Coquette, imprimeur rue de la Glacière qui sévissait toujours dans les années cinquante pour le compte de Jean-Jacques Pauvert (French, 1926 – 2014). -
NEWSoftcover volume 218 x 155 mm, French flapped wrappers in glassine jacket, with red lettering to front “UNE JEUNE FILLE | À LA PAGE”; pp.: [1-8] 9-139 [140] [4], i.e. 72 leaves total, incl. those in the wrapper, plus 10 photomechanically printed colour plates after Paul-Émile Bécat. Limited edition of 400 copies with 350 printed on vélin surfin paper numbered from 51 to 400; this is copy № 254. Title-page (red and black): HELENA VARLEY | UNE JEUNE FILLE | A LA PAGE | {fleuron} | A LA VILLA BRIGITTE | COLLECTION DES DEUX HÉMISPHÈRES || Imprint/Limitation: CETTE ÉDITION, NON MISE DANS LE COMMERCE | ET RÉSERVÉE A DES AMATEURS, A ÉTÉ TIRÉE | A 400 EXEMPLAIRES, TOUS NUMÉROTÉS A LA | PRESSE, A SAVOIR : | 50 EXEMPLAIRES SUR VELIN PUR FIL LAFUMA, | NUMÉROTÉS DE 1 A 50 ; | 350 EXEMPLAIRES SUR VELIN SURFIN, |NUMÉROTÉS DE 51 A 400. | EXEMPLAIRE N° 254 | Exemplaire sur vélin surfin. || Catalogue raisonné: Dutel III № 2564, p. 401. Honesterotica. Contributors: Nicolaï, Michèle [Varley, Helena] (French, 1896 – 1950) – author. Bécat, Paul-Émile (French, 1885 – 1960) – artist. Duflou, Maurice (French, 1885 – 1951) – publisher. -
NEWSoftcover volume 248 x 200 mm, French flapped wrappers in glassine jacket, with a vignette and dark blue lettering to front, printed on very thick Arches paper, all margins untrimmed, unbound: 6 quires folded in 4to; ms text and images produced in dry point, frontispiece vignette hand-coloured; collation: 2 blank, 1 tp, 1 editor's note, 24 text, 1 blank, 1 colophon, i.e. 30 leaves total, those within the wrapper not counted; paginated with Roman numbers I to XLVI. Limited edition of 300 copies; this is copy № 28 of 285 printed on Arches paper. Title-page (blue and black): LE MARIAGE | DE | SUZON | Journal Secret | {vignette} | Aux dépens | des Amis de Cupidon || Colophon: Il a été tiré de cet ouvrage : | 5 exemplaires sur Japon super-nacré, conte- | nant chacun deux dessins originaux, | numérotés de 1 à 5; | 10 exemplaires sur Japon impérial, contenant | chacun un dessin original, numérotés de 6 à 15; | 285 exemplaires sur vélin d'Arches, numérotés | de 16 à 300. | Exemplaire N° 28 || Catalogue raisonné: Dutel III № 1927, p. 253; Honesterotica. For published in 1935 Suzon en vacances: Journal secret d’une jeune fille, see LIB-3409.2025 (Dutel III № 2473).For the pirated reprint of the same published in the late 1940s, see LIB-2935.2022 (Dutel III № 2578).
LIB-3409.2025
Both Suzon en vacances and Le Mariage de Suzon are attributed to Léon Courbouleix (French, 1887 – 1972). Seller's note: Le Mariage de Suzon. In-4, 25 x 20 cm de 30 ff. n. ch. dont 2 ff. n. ch., 1 p. de titre imprimée en bleu et noir avec vignette imprimée en noir, 1 p. d'avertissement des éditeurs, 1 frontispice en couleur, 46 pages entièrement gravées à la pointe sèche (texte et illustration), 1 f. de justification du tirage. Les illustrations courent autour du texte tout au long des feuillets. Couverture rempliée, impression en bleu, illustrée d'un portrait en pied de la mariée, gravé en couleur. Tirage à 300 ex. Édition originale en premier tirage de ces deux ouvrages réunissant 2 frontispice pointes sèches en couleur et 92 pointes sèches. Dutel voit un étui pour Suzon en vacances et pas d'étui pour Le Mariage de Suzon. Nos deux volumes sont sans étui. Pour préfacer Suzon en vacances, Léon Courbouleix joint l'humour au libertinage: « Nous demandons au lecteur qui va ouvrir ce livre un peu d'indulgence. Ce journal a été écrit par une jeune fille de seize ans, il y a bien longtemps. Nous le publions in-extenso, lui conservant ainsi toute sa saveur primesautière. S'il pèche par le style et la forme littéraire, il n'en reste pas moins un document humain qui répond parfaitement à la question souvent posée et jamais résolue: « À quoi rêvent les jeunes filles? » C'est signé : « Les Éditeurs ». Bibliographie : Pia 1384 et 884, Dutel 2473 et 1927.
LIB-2935.2022
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NEWSoftcover volume 250 x 200 mm, French flapped wrappers in glassine jacket, with a vignette and dark blue lettering to front, printed on watermarked Arches paper, all margins untrimmed, unbound, unpaginated, 6 quires folded in 4to; ms text and images produced in dry point, frontispiece vignette hand-coloured; collation: 1 blank, 1 tp, 1 editor's note, 24 text, 1 colophon, i.e. 28 leaves, leaves within the wrapper not counted. Limited edition of 300 copies; this is copy № 126 of 285 printed on Arches paper. Title-page (blue and black): SUZON | EN | VACANCES | Journal Secret | d'une Jeune Fille | {vignette} | Aux dépens | des Amis de Cupidon || Colophon: Il a été tiré de cet ouvrage : | 5 exemplaires sur Japon super-nacré, conte- | nant chacun deux dessins originaux, | numérotés de 1 à 5; | 10 exemplaires sur Japon impérial, contenant | chacun un dessin original, numérotés de 6 à 15; | 285 exemplaires sur vélin d'Arches, numérotés | de 16 à 300. | Exemplaire N° 126 || Catalogue raisonné: Dutel III № 2473, p. 397; Honesterotica. For the pirated reprint, published in the late 1940s, see LIB-2935.2022 (Dutel III № 2578).For published in the late 1930s (1937?) Le mariage de Suzon: Journal secret, see LIB-3410.2025 (Dutel III № 1927).LIB-2935.2022 (Dutel III № 2578).
Both Suzon en vacances and Le Mariage de Suzon are attributed to Léon Courbouleix (French, 1887 – 1972). Seller's note: Suzon en vacances. In-4 écu, 25 x 20 cm de 30 ff. n. ch. dont le frontispice en couleur, 1 titre imprimée en bleu et noir avec vignette imprimée en noir, 1 p. d'avertissement des éditeurs, 46 pages entièrement gravées à la pointe sèche (texte et illustration), 1 p. de justification du tirage. Le texte court autour des illustrations tout au long des feuillets (piqûres). Couverture rempliée, impression en bleu, illustrée d'un portrait gravé en couleur. Tirage à 300 ex.
LIB-3410.2025 (Dutel III № 1927).
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NEWSoftcover volume 250 x 190 mm in publisher’s French flapped wrappers in glassine jacket, marbled with red lettering, in a double slipcase 257 x 196 mm with printed imitation of toile de Jouy; printed on watermarked BFK Rives paper, outer and lower margins untrimmed, unbound, folded quires in 4to, pp.: [1-6] 7-116 [4], leaves in the wrappers not counted, plus 12 plates – coloured etchings by Suzanne Ballivet – within collation; tissue guards laid in. Title-page (red and black): HONORÉ - GABRIEL RIQUETTI | COMTE DE MIRABEAU | le rideau levé | ou | L'EDUCATION | de | LAURE | {fleuron} | AUX ÉDITIONS DU PRIAPE D'ARGENT | — | AVEC PRIVILEGE DU ROY || Colophon: LA PREMIÈRE PARTIE DU RIDEAU LEVÉ, | A ÉTÉ ACHEVÉE D'IMPRIMER EN MARS | 1794, SUR LES PRESSES DE MAITRE BRUTUS | NICAISE, A VERSAILLES. | DANS LA SECONDE PARTIE DE CET OU- | VRAGE, TIRÉE TRÈS PROCHAINEMENT LE | LECTEUR RETROUVERA LAURE, LA JEUNE | HEROINE DE CE RECIT, QUI, EN UN LAN- | GAGE DÉNUÉ DE CETTE FAUSSE PUDEUR, | CHERE AUX HYPOCRITES, CONTERA LES | PRÉMICES DE SON INITIATION AUX | JOUTES AMOUREUSES | 🖤 || Justification du tirage. Le tirage de cette édition a été rigoureusement limité a cent quatre-vingt-dix-sept exemplaires. Sa composition s'effectue de la façon suivante : Un exemplaire unique sur Japon Imperial portant le numéro 1 ; Douze exemplaires sur grand papier de Rives a la forme numérotés de 2 a 13 ; Vingt-quatre exemplaires sur grand papier de Rives a la forme, numérotés de 14 a 37 ; Cent soixante exemplaires sur grand papier de Rives a la forme, numérotes de 38 a 197. Enrichis d'une suite des remarques [sv: lacking]. Il a été tiré en outre : vingt-six exemplaires marqués de A à z, destinés à un groupe de bibliophiles d’Afrique du nord. Exemplaire N° 190. Limitation: This is copy № 190 of the print run of 197 commercial copies. Catalogue raisonné: Dutel III № 2333, p. 350 ; Honesterotica. Contributors: Mirabeau, Honoré Gabriel Riqueti, Comte de (French, 1749 – 1791) – author. Suzanne Ballivet (French, 1904 – 1985) – artist. -
NEWSoftcover volume 240 x 210 mm, publisher’s pictorial wrappers, back wrapper blank, pp.: [1-6] 7-166 [2], b/w illustrations throughout; ISBN 2-86000-022-4. Title-page: LE PARISIEN CHEZ LUI | AU XIX SIÈCLE | 1814 – 1914 | ARCHIVES NATIONALES | HOTEL DE ROHAN | NOVEMBRE 1976 • FÉVRIER 1977 || Imprint: L'Exposition a été organisée | par le Secrétariat d'État à la Culture, | Direction des Archives de France, | avec le concours financier | de la Délégation Générale aux Expositions et Échanges Culturels | et de la Ville de Paris, | et la participation de la Société des | Amis des Archives de France || Favier, Jean (French, 1932 – 2014) – author, directeur général des Archives de France. -
NEWHardcover volume 226 x 206 mm, bound in black cloth, orange paper panel with lettering, black endpapers, pp.: [1-8] 9-128 [4]; print run limited to 502 copies, with 500 printed on Papeir Libris numbered from 1 to 500, of which this is copy № 443. Gift ms in blue ballpen to h.t. by Jacques Duprilot for Guy Parguez (French, 1936 – 2021), a librarian at Lyon Public Library (Bibliothèque de la Ville de Lyon) : « Pour Guy Parguez afin qu'il n'ignore plus rien du presque du catalogue du cabinet secret du Prince G***. Aves toute ma sympathie. A Lyon 1e 18 Juin 1989. Duprilot ». Title-page: JACQUES DUPRILOT | L'ÉNIGME DU CATALOGUE | DU CABINET SECRET | DU PRINCE G*** | OU LES RUSES DU LIBRAIRE LEHEC || Half-title: LES CURIOSA DE MONSIEUR LEHEC | ET | LA GENÈSE | DU CATALOGUE DU CABINET SECRET | DU PRINCE G*** | (1887-1890) || Limitation (colophon): ÉDITION ORIGINALE | ACHEVÉE D'IMPRIMER EN MARS 1989 | PAR DUMARET & GOLAY À CAROUGE-GENÈVE | COMPRENANT | 2 EXEMPLAIRES DE TÊTE NOMINATIFS | SUR JAPON KOZU VELLUM | ET 500 EXEMPLAIRES SUR PAPIER LIBRIS | NUMÉROTÉS DE 1 À 500 | EXEMPLAIRE N° 443 || -
NEW"The Jewish Hungarian artist Nicolas Sternberg moved to Paris in the 1920s, remaining there for the rest of his life, hiding during the German occupation of the city in the 1940s under false identity papers". [MIA: Minneapolis Institute of Art, cited] Jean-Pierre Dutel provides the following information: Nicolas Sternberg was born to Jewish parents on July 9, 1902, in Nagyvárad, in Austro-Hungary. According to the archives of the Préfecture de police in Paris (1930), he was Hungarian. His real name was Miklós Szines-Sternberg. At the time, it was common among painters and sculptors to retain their original German names while adopting Hungarian-German double surnames. From age twelve, he worked as a newspaper illustrator in Budapest before moving to Paris in the early 1920s after studying in Munich. He published regularly in Paris-Soir, one of the most important French daily newspapers between the wars. Despite his talent, only one solo exhibition seems to have been dedicated to him at the Galerie Georges Petit (Georges Petit, 1856–1920) in 1929. Jules Pascin (1885 –1930) exhibited there in 1930 and committed suicide on the opening day. Sternberg is known for his drawings devoted to the circus, madmen, and pornography. He excelled in portraits and self-portraits, particularly fine portraits of his wife Miche and his friend Michel Simon (1895–1975). In 1927, he made drawings for Les Flambeaux de la Noce, a play at the Comédie-Française. He also contributed to the illustration of La Légende des sexes by Edmond Haraucourt (1856 –1941). In 1930, he created illustrations for Les Aventures du Roi Pausole by Pierre Louÿs (1870–1925), published by Simon Kra (1853–1940), and for an edition of the bawdy songs Les Trois Orfèvres à la Saint Éloi, which led to an investigation into its publisher and illustrator. He also produced original watercolours for an edition of Manuel de Civilité by Pierre Louÿs. In 1933, he illustrated Madame de Pompadour by Paul Reboux (1877 –1963). In 1937, Sternberg illustrated Souls and Secrets, a collection of Hasidic stories by József Patai (1882–1953), translated by his son, the anthropologist, ethnologist, and historian Raphael Patai (Budapest, 1910 – Tucson, 1996), who kept some of Sternberg’s works in his home. Portraits of Michel Simon dating from 1932, along with numerous pornographic photographs of Sternberg taken by the actor between 1940 and 1960, demonstrate the longevity of their relationship. In 1940, Sternberg miraculously escaped the Nazi’s aerial bombardment that killed several members of his family. During the Occupation, he lived in hiding with false papers and resumed his career in Paris after the war. Despite visual differences, Jules Pascin and Nicolas Sternberg shared some curious similarities. Their works, though employing different techniques, reflect the same underlying despair. Like Pascin, Sternberg committed suicide. -
NEWHardcover volume 230 x 135 mm, bound in brown buckram with gilt lettering to spine, in craft paper dust jacket with lettering and vignette, and blurb on flaps; collated 8vo: A-O8, i.e. 112 sheets, pp: [1-8] 9-221 [222] [2 blank], plus frontispiece in colour and four leaves of b/w plates after p. 96; First UK edition. Title-page (in cresting frame): THE MEMOIRS | OF AN | EROTIC | BOOKSELLER | by | ARMAND COPPENS | assisted by his | tired wife | CLEMENTINE | and her | distant lover | VOLUME ONE | ⚜ | LONDON: LUXOR PRESS || Imprint: © Armand Coppens, 1969 | Made and printed in | Great Britain by | C. Tinling and Co Ltd | Liverpool, London and Prescot | and | published by | LUXOR PRESS LTD | 50 Alexandra Road | London s w 19 […] || Contributors: Schors, Willem Nicolas [Coppens, Armand] (Dutch, 1925 – 2014) Luxor Press (London) — owner Charles Skilton (British, c.1922 – 1990) -
NEWHardcover volume 180 x 135 mm, blue buckram, embossed black and gilt lettering and vignettes to front and spine, stapled. Collation 8vo: 1-258 264, pp.: [2] 3-405 [406] [2], i.e. 204 leaves plus 13 plates after Boris Efimov and portrait frontispiece after J. M. Holder extraneous to collation; all plates are photomechanical reproductions. This book was published by "Художественная литература" after Academia Publishing, which prepared the edition, had been shut down by the Soviet State in 1938. A reprint of this book with different illustrations was published by Ивановское книжное изд-во in 1959 (see LIB-3349.2024). Title-page (blue and black): Вильгельм Гауф | (in ribbon) СКАЗКИ | {vignette} | 1938 | Государственное издательство | «Художественная Литература» | Москва || Colophon: Книга подготовлена изд-вом «Academia»; print run 10,000 copies. Contents: КАРАВАН. Перевод Н. Г. Касаткиной Рассказ о калифе аисте Рассказ о корабле приведений Рассказ об отрубленной руке Спасение Фатимы Рассказ о Маленьком Муке Сказка о мнимом принце АЛЕКСАНДРИЙСКИЙ ШЕЙХ И ЕГО НЕВОЛЬНИКИ. Перевод И. С. Татариновой Карлик Нос Обезьяна в роли человека История Альмансора ХАРЧЕВНЯ В ШПЕССАРТЕ. Перевод М. А. Полиевктовой Рассказ о гульдене с изображением оленя Холодное сердце. Часть первая. Приключения Саида Стинфольская пещера. Шотландское предание Холодное сердце. Часть вторая. Contributors: Wilhelm Hauff [Вильгельм Гауф] (German, 1802 – 1827) – author. Касаткина, Наталья Григорьевна (Russian, 1902 – 1985) – translator. Татаринова, Ирина Сергеевна (Russian, 1895 – 1978) – translator. Полиевктова, Мария Александровна (Russian, 1892 – 1982) – translator. Пуриц, Елена Феликсовна (Jewish-Russian, 1910 – 1997) – foreword. Ефимов, Борис Ефимович [Фридлянд; Yefimov, Boris] (Jewish-Russian, 1900 – 2008) – artist, plates. Holder, Johann Michael (German, 1796 – 1861) – artist / frontis. portrait, after. -
NEWSoftcover volume 185 x 135 mm, publisher’s cream wrappers with lettering and author’s portrait to front, lettering to spine; pp.: [1-6] 7-237 [238 blank] [2], total 240 pp., incl. h.t., t.p., contents, text and colophon. ISBN 2-904228-02-0. Title-page: ЕВГЕНИЙ ШВАРЦ | МЕМУАРЫ | Подготовка текста, предисловие | и примечания Льва Лосева | La Presse Libre | Paris || Contra-title: EVGENIY CHVARTZ | MÉMOIRES | Édition préparée, préfacée et annotée | par Lev Loseff | La Presse Libre | Paris || Imrprint: Titre original en russe: | EVGENIY CHVARTZ. MEMUARI | Édition préparée, préfacée et annotée | par Lev Loseff | © Edition de «La Presse Libre» | 1982 | ISBN 2-904228-02-0 || Colophon: ACHEVÉ D'IMPRIMER | LE 13 OCTOBRE 1982 | PAR L'IMPRIMERIE | DE LA MANUTENTION | A MAYENNE | N° 7993 || Contributors: Шварц, Евгений Львович [Schwartz, Evgueni] (Russia, 1896 – 1958) Лосев, Лев Владимирович [Лифшиц; Loseff, Lev] (Jewish-Russian-American, 1937 – 2009) -
NEWHardcover volume 220 x 143 mm, bound in dark blue cloth with gilt square monogram to front and gilt lettering to spine, aubergine endpapers, top edge gilt; pagination: [2] limitation leaf bound in, [4] 1-192, 1-48 (total 246 pages), plus 12 loose colour plates 133 x 102 mm tipped-in to the pocket in the rear pastedown. Limited edition of 250 copies, of which this is № 244. Title-page: CATALOGUE | DU | CABINET SECRET DU PRINCE G*** | — | COLLECTION DE LIVRES | ET | OBJETS CURIEUX ET RARES | CONCERNANT | L'AMOUR, LES FEMMES | ET LE MARIAGE | AVEC LES PRIX DE VENTE | (in rules) PREMIÈRE PARTIE | BRUXELLES | M DCCC LXXXVII || Contra-title: CATALOGUE | OF THE | SECRET CABINET OF PRINCE G*** | [GALITZIN] | — | COLLECTION OF BOOKS | AND | CURIOUS AND RARE OBJECTS | CONCERNING | LOVE, WOMEN | AND MARRIAGE | INCLUDING THE SALE PRICE | — | WITH AN INTRODUCTION | TO THIS EDITION BY | W. N. SCHORS | LONDON | CHARLES SKILTON | MDCCCCLXXV || Limitation: EDITION LIMITED TO | 250 COPIES | of which this is | No. 244 | The Coloured Illustrations with this reprint | are reproductions of twelve of the lithographs | by Devéria listed as No. 115 on page 30 of the | Supplement || Imprint: Introduction copyright by W. N. Schors, 1975 | Limited Edition of 250 copies | made and printed by Lewis Reprints Ltd | Tonbridge, Kent | and published by | CHARLES SKILTON LTD | 90 The Broadway, London SW19 || Contributors: Gustave Lehec (French, 1841 – 1922) Charles Skilton (British, c.1922 – 1990) -
NEWThe top cover of the French humouristic weekly Le Rire № 631, 7 Mars 1931. Lettering: № 631 – 7 Mars 1931 … S.A.D.E.P. … Le Numéro : 1 fr. 50 | Le Rire | JOURNAL HUMORISTIQUE PARAISSANT LE SAMEDI | — Dis donc, maman, ce qu'il doit être curieux, le / Monsieur d'en face, ça fait une heure qu'il cherche à / lire le titre de ton livre. | Dessin de ROJANKOVSKY. Publisher: S.A.D.E.P. => Éditions: Société Auxilliaire pour la Diffusion des Éditions de Productivité — 11, rue du Faubourg Saint-Honoré, Paris. Artist: Feodor Rojankovsky [Rojan, Фёдор Степанович Рожанковский] (Russian-French-American, 1891 – 1970) -
NEWDrypoint on cream cardstock 230 x 206 mm with plate mark 101 x 112 mm, signed 'ORS' in pencil on the margin below the plate mark. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961). -
NEWDrypoint on cream cardstock 160 x 212 mm with plate mark 97 x 120 mm, signed 'ORS' in pencil on the margin below the plate mark. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961). -
NEWDrypoint on cream cardstock 230 x 207 mm with plate mark 102 x 120 mm, signed 'ORS' in pencil on the margin below the plate mark. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961). -
NEWDrypoint with plate mark 90 x 105 mm on cream cardstock in two states: (1) two copies 155 x 230 mm, signed 'ORS' in pencil on the margin below the plate mark. (2) 155 x x 225 mm signed 'ORS' in pencil on the margin below the plate mark and with the letter 'd' in pencil above the plate mark. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961). -
NEWSepia drypoint with plate mark 55 x 70 mm on cream cardstock in two states: (1) 115 x 155 mm, unsigned (2) 115 x 155 mm, signed 'ORS' in pencil on the margin below the plate mark. Artist: Otto Rudolf Schatz (Austrian, 1900 – 1961).
