Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection. By Sasano Masayuki. Part One. Published in Japan in 1994 by Daisuke Saito, Mega Co., Ltd. Translated by Tomoko Saro. Printed by Mitsumura Printing Co., Ltd. 304 x 217 x 30 mm
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Magazine article by Edgar Jepson: The Iron Tsuba of Japan (Section: Oriental Art), published in volume Vol. 70 (September–December) of The Connoisseur: An Illustrated Magazine for Collectors, Vol. 70 (September–December); pp. 143-152 / C. Reginald Grundy [ed.] — London: Published by the Proprietor, W. CLAUSE JOHNSON, at the Editorial and Advertisement Offices of The Connoisseur, 1924. Owner's half black morocco, gilt lettering to spine, blue cloth boards. Two volumes bound together without original covers. Size 28.5 x 22 cm. Vol. 1: The Connoisseur | An Illustrated Magazine | For Collectors | Edited by C. Reginald Grundy | Vol. LXIX. | (MAY—AUGUST, 1924) | LONDON | Published by the Proprietor, W. CLAUSE JOHNSON, at the | Editorial and Advertisement Offices of The Connoisseur, | at 1, Duke Street, St. James's, S.W. 1 | 1924 || Pp.: [i-ii] iii-xviii [xix] [1, 2 - plate] 3-249 [250]. Vol. 2: The Connoisseur | An Illustrated Magazine | For Collectors | Edited by C. Reginald Grundy | Vol. LXX. | (SEPTEMBER—DECEMBER, 1924) | LONDON | Published by the Proprietor, W. CLAUSE JOHNSON, at the | Editorial and Advertisement Offices of The Connoisseur, | at 1, Duke Street, St. James's, S.W. 1 | 1924 || Pp.: [i-ii] iii-xxii [2 blanks] [1, 2 - plate] 3-261 [262]. The Iron Tsuba of Japan by Edgar Jepson The heart of Japan was in the sword. However admirable may be the paintings, the prints, the netsuke, the lacquer, or the bronzes of the Japanese masters, the supreme artistic achievements of Japan were the blades of Masamune, Muramasa, Sadamune, and Rai Kunitsugu. But not a little of the heart of Japan went also in the tsuba, the guard which protected the hand that wielded the blade, into the iron tsuba of the fighting Samurai. Beside the forgers of the iron tsuba of Japan the ironsmiths of the rest of the world have been mere children. The earliest tsuba were of bronze or copper, often gilded. It is probable that they were replaced by iron tsuba during the Kamakura period, the great fighting era, which lasted from A.D. 1185 to 1333. During the later half of the twelfth century leather tsuba, strengthened by thin iron plates or a metal rim, also replaced the bronze and copper tsuba. It was at this time that a family of armourers of the name of Masuda, and in particular Masuda Munesuke, the founder of the Myochin family, began to forge iron tsuba — thin, round plates of great hardness and density. But it is probable that no tsuba perforated with a view to decorative effects were forged before the end of the fourteenth century. These fourteenth-century tsuba are exceedingly rare in England. I have seen none in the museums, none in the famous collections that have been sold during the last ten years. Those photographed in Herr Oeder's book might easily be the fifteenth century. No. 1 is a curious cup-shape tsuba decorated with a bronze and copper inlay. No. 2, with its edges curiously twisted in the forging, looks like Myochin work. But it is not of the Myochin iron. The Myochin family produced some of the greatest ironsmiths of Japan. Armourers first of all, tsubasmiths, forgers of sake-kettles, articulated reptiles, crustacea, and insects — everything that can be done with iron they did; they pushed their medium to its limit. They were forging iron tsuba in 1160, and they were still forging them in 1860. And it was their own iron, or rather their own steel. They discovered the secret of it early, and they kept that secret in the family for all those hundreds of years. There is no mistaking a Myochin tsuba: balance it on your finger and tap it with a piece of metal, always it gives forth a clear bell-like ring that you get from the work of no other ironsmith, Japanese or European. Always the Myochin tsuba is before everything a protection to the hand of the swordsman; to that everything is, as it should be, subordinated. No. 3 is a Myochin tsuba of the fifteenth century, and probably of the early fifteenth century. No. 4, by Myochin Munetaka, perforated with a grotesque figure, is an example of that twisting and twisting of the iron in the forging till it forms a pattern like the grain of wood. The Myochin smiths invented these wood-grain tsuba, and no other smiths equalled them in their forging. In the sixteenth century, the fighting tsuba was probably at its best. It was a century of great tsubasmiths. Then the first Nobuiye, whose tsuba fetched £100 apiece, circa 1800, in Japan, and the first Kaneiye flourished. No. 5 is a tsuba forged by a great smith, Iyesada of Sotome, in the manner of Nobuiye I, decorated with the karakusa tendrils that Nobuiye delighted in, with lightning and clouds. No. 6 is a guard of Sanada Tembo, the chief smith of the Tembo family, stamped, punning fashion, with the character Tembo. Akin to the Tembo tsuba were those of the Kiami and Hoan smiths. Then also the Heianjo smiths and the Owari smiths, especially those of Nagoya and the Yamakichi family, forged their strongest tsuba. Those of the Yamakichi were tested after the forging by being pounded in iron mortars — at least, so the legend runs. But they were a sternly utilitarian family, and I have never seen a Yamakichi tsuba of any beauty. In the later half of the fifteenth century arose the fashion of decorating tsuba with an inlay, zogan, of bronze. The Heianjo tsuba, forged at Kyoto in the latter half of the fifteenth and the beginning of the sixteenth century, were often thus inlaid. The earliest of them were called "Onin", of which No. 7 is an example. In addition to the bronze inlay around the edge, it is inlaid with a representation, some say, of snow; others say, of the duckweed on a pond. No. 8 is probably a Heianjo tsuba, but I am not quite sure about it. The inlaid acacia branches might be very early Shoami work. But to judge by the iron, it is a fifteenth-century tsuba; and the authorities place the beginning of the Shoami school not later than early in the sixteenth century. No. 10 is an example of the Fushimi-zogan, a flat inlay of a light-coloured bronze. These tsuba took their name from the fact that they were first forged at Fushimi, in Yamashiro, in the sixteenth century. It is of the type known as Mon-zukashi, perforated with crests (mon) à jour. The Yoshiro-zogan tsuba were also first forged at Fushimi by Yoshiro Naomasa. They were distinguished from the Fushimi-zogan by the fact that their inlay was generally a little raised-not always-for the inlay of No. 9, a tsuba forged by a later nineteenth-century Yoshiro, is quite flat. It is an interesting tsuba, for, with its decoration grown florid and excessive, it marks the intermediate stage between the simple and delightful designs of the genuine fighting tsuba and the elaborate pictures in gold and silver on the tsuba of the eighteenth-century smiths of Awa and Kyoto, which have become mere ornaments of the goldsmith. The Gomoku-zogan (No. 11) tsuba were probably first forged earlier than the Fushimi and Yoshiro-zogan tsuba. This inlay, in slight relief, is a representation in a light-coloured bronze and copper of twigs caught in the eddies of streams. The seventeenth century and early eighteenth century were the great periods of perforated tsuba. The designs, and they are often admirable, are for the most part in plain fretwork; but they are also chased. No. 12, a crane under an acacia, is a tsuba of a Higo smith, great forgers of fighting tsuba during this period. These smiths also excelled in nunome zogan, a very thin gold and silver inlay, with which they further decorated their perforated guards. The smiths of the Umetada and Shoami families also forged iron tsuba during this period; but their designs, though sometimes pleasing enough, are rarely fine. The best work of Myoju Umetada is in sentoku, not iron. The Choshu smiths, coming later, surpass the perforated guards of both the Umetada and Shoami smiths in beauty of design. No. 13, a lotus in the round, not only fretwork, but also engraved, is a good example of the admirable balance they so often attained in their designs. It is a sufficiently realistic lotus, but yet of a delightful simplicity. In considerable contrast is No. 14, the dragon by Soheishi Soten — one of the only two authentic tsuba of his forging known — the first forger of hikone-bori tsuba, which were in extraordinary favour in Japan during the eighteenth century, and illustrated every important event in Japanese history. It is on the elaborate side, but fine, strong work, and an excellent guard to the hand, for the lighter and more open part, which gives the design its admirable balance, is on the inside, and not exposed to the full swing of an opponent's blade. A few years ago there was a tendency to decry the Namban tsuba as having sprung too directly from foreign sources. But though the original suggestion may have been Chinese, or, as some say, Portuguese, the Japanese made it entirely their own, as characteristically Japanese as anything can well be, but, it must be admitted, of a decadent period. The school took its rise at the beginning of the seventeenth century, and the early tsuba were forged of a specially hard iron, the Wootz, imported from Southern India. No. 15, the signs of the Zodiac, is an excellent tsuba from the fighting point of view. Both it and No. 16 are of quite charming, if elaborate, design, and both of them, with their delicate scroll-work, so astonishingly undercut, are the very last word in the work of the ironsmith-veritable iron lace. To return to the simpler perforated tsuba, the smiths of Akasaka, a suburb of Tokyo, produced probably the most charming designs. Their style derives considerably from the Higo smiths, and their earlier fighting tsuba are very like the Higo tsuba. But always their work was just a little lighter than that of the Higo smiths, and in the end they moved right away from them and became the forgers of very light guards indeed. No. 17, is a representation of the Hiyokudori, the fabulous double bird, in which were reincarnated the souls of the two lovers, Gompachi and Komurasaki; and No. 18, “the tsuba of a hundred ducks "— there are about forty — are characteristic designs of the school. In the work of the Akasaka smiths the balance, which makes the design of a good tsuba so admirable and delightful, attains its height. This admirable balance seems often to be obtained by a deliberate sacrifice of symmetry. About nine hundred and ninety-nine European ironsmiths out of a thousand would have made the right and left sides of the Hiyoku-dori line by line, and perforation by perforation, exactly alike; he would have cut out exactly as many ducks on the one side of “the tsuba of a hundred ducks” as on the other, and made each duck on the right side correspond exactly in position and attitude with a duck on the left side. By variations the tsubasmith attained a finer balance, almost a higher symmetry. No. 19, often called by collectors the "rose-window" tsuba, but really a stylised chrysanthemum, is a favourite design of the Akasaka smiths, but Hizen work and inlaid in the Hizen manner with gold nunome. No. 20 is a Satsuma tsuba of the middle period. The Satsuma smiths of the nineteenth century produced probably the most ornate of all the iron guards, for the most part calibashes and beans with their leaves and tendrils realistic in the extreme, but of charming design. Few crafts have been carried further than that of the tsubasmith; few crafts working in a difficult medium have handled more subjects with greater feeling for beauty or greater liveliness of fancy. It is interesting to note again and again how school influences school, and smith influences smith. But, as in all the applied arts, the finest tsuba were forged by men who never lost sight of the purpose of a tsuba, that it is before everything a protection to the hand, and never subjected that purpose to a passion for virtuosity. Illustrations: No 1. FOURTEENTH-CENTURY TSUBA, WITH BRONZE AND COPPER INLAY No. 2. FOURTEENTH-CENTURY TSUBA, RESEMBLING MYOCHIN WORK No. 3. MYOCHIN TSUBA, FIFTEENTH CENTURY No. 4. MYOCHIN TSUBA, NINETEENTH CENTURY No. 5. SIXTEENTH-CENTURY TSUBA No. 6. SIXTEENTH-CENTURY TSUBA BY IYESADA OF SOTOME BY SANADA TEMBO No. 7. ONIN TSUBA No. 8. HEIANJO (?) TSUBA No. 9. YOSHIRO TSUBA, NINETEENTH CENTURY No. 10. FUSHIMI-ZOGAN, NINETEENTH CENTURY No. 11.- GOMOKU-ZOGAN, SIXTEENTH CENTURY No. 12. HIGO TSUBA, SEVENTEENTH CENTURY No. 13. CHOSHU TSUBA, SEVENTEENTH CENTURY No. 14. SOTEN TSUBA, SEVENTEENTH CENTURY No. 15. NAMBAN TSUBA, EIGHTEENTH CENTURY No. 16. NAMBAN TSUBA, NINETEENTH CENTURY Nos. 17. AND 18. AKASAKA TSUBA, EIGHTEENTH CENTURY No. 19. HIZEN TSUBA, EIGHTEENTH CENTURY No. 20. SATSUMA TSUBA, EIGHTEENTH CENTURY -
Title: S. ROSCOE | THOMAS BEWICK | A BIBLIOGRAPHY RAISONNÉ | OF EDITIONS OF THE | GENERAL HISTORY OF QUADRUPEDS | THE HISTORY OF BRITISH BIRDS | AND THE | FABLES OF AESOP | ISSUED IN HIS LIFETIME | GEOFFREY CUMBERLEGE | OXFORD UNIVERSITY PRESS | LONDON NEW YORK TORONTO | 1953 || Pagination: [2], [i-iv] v-xxx, 1-198 [2]; collation: 8vo, [a]-b8, B-N8, O4, all plates within collation. Binding: 25.5 x 16.5 cm, tan cloth, black babel with gilt lettering, letterpress dust jacket. Contributors: Roscoe, Sydney – author. Cumberlege, Geoffrey Fenwick Jocelyn (British, 1891 – 1979) – publisher. Batey, Charles – printer -
Publisher’s pictorial wrappers, to front wrapper in frame “П. БЕЗСАЛЬКО | АЛМАЗЫ | ВОСТОКА | С ПРЕДИСЛОВИЕМ | А. ЛУНАЧАРСКОГО | {vignette vase with flowers} | РИСУНКИ | С. ВИТБЕРГА || Ex-library book with stamps and stickers. Title page: П. БЕЗСАЛЬКО | АЛМАЗЫ | ВОСТОКА | {publisher’s device «КНИГОИЗДАТЕЛЬСТВО ПЕТРОГРАДСКОГО СОВДЕПА / КНИГА НАРОДУ» | Издание Петроградского Совета | Рабочих и Красн. Депутатов | 1919 || Pagination: [1-4] 5-85 [3], total 88 pages, 12 full-page black and white plates. Collation: 8vo; [1]-58 64, total 44 leaves, plates within collation. Contributors: Безсалько, Павел Карпович (Russian, 1887 – 1920) – author. Луначарский, Анатолий Васильевич (Russian, 1875 – 1933) – author if the foreword. Vidbergs, Sigismunds (Latvian-American, 1890 – 1970) – artist. Бельгова, Полина Борисовна (written "ПОЛИНА БОРИСОВНА ЬЕЛЬГОВА") – dedicatee, unidentified. -
Title (chain border): CANDIDE | VOLTAIRE | ILLUSTRATIONS BY | MAHLON BLAINE | {vignette} | NEW YORK | Illustrated Editions Company | 220 FOURTH AVENUE || Title verso: (top) COPYRIGHT, 1930, BY WILLIAMS, BELASCO & MEYERS || (bottom) PRINTED IN THE UNITED STATES OF AMERICA | BY J. J. LITTLE & IVES COMPANY, NEW YORK || Pagination:[1-7] 8-144, headpiece, frontispiece and 5 plates after Blaine’s pen drawings, within the pagination; tailpieces by A. Zaidenberg. Binding: 21 x 14 cm; quarter beige buckram over blue cloth, stamped-gilt and red lettering and vignette to front board and spine. Binding in a way similar to Sterne's A sentimental journey published by Three Sirens Press in c. 1930 [LIB-2784.2021]. Not only that: tailpieces in this Illustrated Editions Company edition are the same as in Cameo Classic edition, with the only difference – here the name of the artist is stated, whether in the Cameo Classic it is not; see [LIB-2777.2021]. Bear in mind that Cameo Classic does not belong to Williams, Belasco and Meyers, it is a Grosset and Dunlap series; a cream dust-jacket lettered in red and blue, and with a citation from W. Somerset Maugham; all edges red. Compare with LIB-2791.2021. Illustrations in the current copy are exactly the same. Compare Williams, Belasco and Meyers Candide and Illustrated Editions Company Candide title pages:
Williams, Belasco and Meyers
Arouet, François-Marie [Voltaire] (French, 1694 – 1778)– author. Woolf, Herman Irwell [Chambers, Dorset] (British, 1890 – 1958) – translator. Blaine, Mahlon [Hudson, G. Christopher] (American, 1894 – 1969) – illustrator. Zaidenberg, Arthur (American, 1902 – 1990) – illustrator. Williams, Belasco and Meyers (NY) – copyright holder. Illustrated Editions Company (1929-1942) – publisher. J. J. Little & Ives Company (NY) – printer. See the Cameo Classic reprint [LIB-2777.2021].
Illustrated Editions Company
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Front wrapper: LES MŒURS DU SIECLE - № 1 | Les | six étages | par | GERARD BAUER | illustré de vingt gravures à l’eau-forte | par VERTÈS | {publisher’s device, “PARIS | 17, avenue de Friedland”} | ÉDITIONS DE L’ÉTOILE || Title-page: essais pour servir a1 l’histoire contemporaine | de la galanterie et du plaisir | I | Les six étages | par | GERARD BAUER | illustré de vingt gravures à l’eau-forte | par VERTÈS | | {publisher’s device, “ÉDITIONS DE L’ÉTOILE | 17, avenue de Friedland”} | PARIS […] MCMXXV || Pagination: front wrapper with lettering, [1-8] incl. 1st bank leaf, h.t. / limitation, t.p. / blank, dedication to Abel Hermant / blank, 9-169 [170] [6] incl. table, colophon, and last blank leaf, 17 etchings by Vertès within pagination; advert. of the other books of the series to the back wrapper. Edition: 15 copies on Japon Impérial (№ 1-15), 35 on Hollande Van Gelder Zonen (№ 16-50), 400 on Vélin de Rives BFK (№ 51-450) and 3 on blue paper not for sale. This copy is № 369. Printed on November 10, 1925 by L. Petitbarat in Saint-Ouen-l’Aumône (text) and by Vernant in Paris (etchings). Edition directed by Roger Allard. Binding: 19 x 12.5 cm, French flapped pink wrappers, lettered to front, back, and spine. Contributors: Gérard Bauër (French, 1888 – 1967) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Abel Hermant (French, 1862 – 1950) – dedicatee. Roger Allard (French, 1885 – 1961) – editor. L. Petitbarat (Saint-Ouen-l’Aumône) – printer. Éditions de l’Étoile (Paris) – publisher. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes -
Description: Publisher’s tan French flapped wrappers, in glassine DJ, 25.4 x 19.4 cm, collated in-4to, lettered LA SEMAINE | SECRÈTE DE | VÉNUS | {fleuron} ||, outer margin uncut. Title-page: ≈ | LA SEMAINE | SECRÈTE | DE VÉNUS | Illustrée de huit Dessins | originaux reproduits en | lithographie et coloriés | {vignette} | LA CHRONIQUE CLANDESTINE | ≈ de 1919 à 1925 ≈ || Limitation: Unique copy on Vieux Japon enriched with original drawings and suites of plates, № 1-25 on Japon Imperial, enriched with 1 drawing and 3 suites of plates, № 26-275 on vélin d’Arches «avec les sept lithos en couleurs»; total print run – 275+1. This is copy № 70. Collation: π3 (blank, h.t./limit., t.p.), 1-154 χ1, total 64 leaves plus 7 plates, lithographs after drawings by Marcel Vertès, extraneous to collation. Note: Eight lithographs stated in the title are 7 plates AND a vignette on the title page. Vokaer attributes the printer/publisher as "Imprimerie Daragnès" and the year of publication as 1925. Pagination: [6] 2 blanks, 2 h.t. / limit., 2 t.p., [1-2] 3-115 [7] ; total 128 pages plus ils. Catalogue raisonné: Dutel (1920-1970): № 2386; Pia (Enfer) 1317; Nordmann (1): 246; Vokaer (1967): 8, Contributors : Pierre Mac-Orlan (French, 1882 – 1970) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Paul Cotinaud – publisher (per Dutel) Coulouma (Argenteuil) – printer (per Dutel). -
Description: One volume in publisher’s pink wrappers (folder), 24 x 19.5 cm, lettered "LES AVENTURES SINGULIÈRES | DU FAUX CHEVALIER | DE WARWICK" with the device below, in a double slipcase 25 x 20.2 cm with a lettered label to spine; collated 14 gatherings of 4 leaves and 5 gathering of 6 leaves, total 86 leaves, unbound; pp.: [10] 11-161 [162] [10], total 172 pages; illustrated with 8 full-page and 8 in-text coloured collotype reproductions after watercolours by André Collot and enriched with a suite of the same 16 plates before colouring. Text and illustrations in a purple frame, printed on wove paper watermarked “Arches”. Title-page (purple and black, in purple frame): DUPRÉ D'AULNAY | LES AVENTURES SINGULIÈRES | DU FAUX CHEVALIER | DE WARWICK | présentées par Jacques Perret | et illustrées de | 16 compositions originales | par | ANDRÉ COLLOT | {publisher’s device} | LA TRADITION | PARIS || Limitation: Edition is limited to 530 copies; first 128 copies on Vélin d’Arches, incl. 16 copies (№ 1-16) enriched with a suite before colouring and an original watercolour; 16 copies (№ 7-32) enriched with a suite before colouring and an original sketch; 96 copies (№ 33-128) enriched with a suite before colouring; 372 copies (№ 129-500) on Crèvecœur du Marais; plus 30 copies not for sale numbered I-XXX. This copy is № 53 (on Arches with a b/w suite). Colophon: Printed under the direction of Paul Durupt and Gerard Ribot on October 15, 1958, in the press of Pierre Larrive. Illustrations reproduced by Duval (Paris) and coloured by Le Coloris Moderne; bound by La Reliure Randeynes S.A. (Paris). Contributors: Louis Dupré d'Aulnay (French, 1670 – 1758) – author Jacques Perret (French, 1901 – 1992) – author André Collot (French, 1897 – 1976) – artist. -
Description: Hardcover volume bound in red cloth with black lettering to front cover and spine, in a red dustjacket with black lettered, bookplate to front pastedown “ from the library of | DAVID. D. LEVINE | Militaria” in triple fillet frame, bookseller’s label to front fep “CHAS. E. LAURIAT CO. | IMPORTERS & BOOKSELLERS | 385 Wash’n St. Boston”. Title-page in red and black: MY DAYS OF ADVENTURE | THE FALL OF FRANCE, 1870-71 | BY ERNEST ALFRED VIZETELLY | LE PETIT HOMME ROUGE | AUTHOR OF “THE COURT OF THE TUILERIES 1852-70” ETC. | {publisher’s device} | WITH A FRONTISPIECE | LONDON | CHATTO & WINDUS | 1914 || Pagination: [2] advert., [i-vii] viii-xi [xii] [2] contents/blank, [1] 2-337 [338] [2], 340 pages total plus photo frontis. Collation: [A8] B-Y8 Z2, 170 leaves total plus one leaf of plates. Provenance: David D. Levine Contributors: Ernest Alfred Vizetelly (British, 1853 – 1922) – author. Charles E. Lauriat Company, Booksellers and Importers, Boston, Massachusetts. Charles Emelius Lauriat, Jr. (American, 1874 – 1937) – collector of rare books and prints Chatto & Windus (London) – publisher. David Daniel Levine (Australian, 1944 – 2020) – Australian judge and book collector -
Hardcover, 17.2 x 12.5 cm, brown cloth-backed pictorial paper boards, lettering to front and spine, pictorial endpapers, pp.: [1-4] 5-430 [2], total 432 pages; collated in-16mo: [1]-1216 138 1416, total 216 leaves. Print run: 65,000 copies. A real history-based fiction about doctor Nikolai Sudzilovsky [Nicholas Russel] (Belarusian, 1850 – 1930). Title-page (pictorial): АЛЕКСАНДРА | БОГДАНОВА | ЖИЗНЬ | ПОСЛЕ | СМЕРТИ | Роман || Imprint: Рецензент доктор филилогических наук Н. Г. Жулинский. Редактор В. А. Лигостов. Богданова А. И. Жизнь после смерти: Роман. — К.: Рад. письменник, 1990. — 431 с. ISBN 5-333-00201-0. Colophon: Литературно-художественное издание. БОГДАНОВА АЛЕКСАНДРА ИВАНОВНА | Жизнь после смерти. Роман. Киев, издательство «Радяньский пысьмэннык». Author: Богданова, Александра Ивановна (b. c. 1950). -
Description: softcover, 25.5 x 16.5 cm, pink French flapped wrappers with black lettering, printed on laid paper watermarked “ARCHES (France)”, with 10 plates (etchings) bound in and 1 plate (coloured etching) laid in, extraneous to collation, with tissue guards; pp.: ffl, [2] h.t., [2] t.p., 1- 151 [152] [4] colophon, blank, ffl; some pages uncut; margins untrimmed. Title-page: UN ÉTÉ A LA | CAMPAGNE | CORRESPONDANCE DE DEUX | JEUNES PARISIENNES RECUEILLIE | PAR UN AUTEUR A LA MODE | ILLUSTRÉE DE DIX EAUX-FORTES | ET D’UNE AQUARELLE ORIGINALE | {blank} | IMPRIMÉ SOUS LE MANTEAU | ET NE SE VEND NULLE PART | MCMXVIII || Limitation: a print run of 165 copies, of which this is № 129 on Arches à la forme paper. Cat. Raisonné: Dutel III № 2545, p. 397; Honesterotica. Contributors: Gustave Droz (French, 1832 – 1895) – author (presumable) Frans de Geetere (Belgian, 1895 – 1968) – artist/engraver -
Softcover, 18 x 13 cm, grey paper wrappers with black lettering to front and spine; price and publisher’s device to back wrapper. Collation 8vo: 1-238; total 184 leaves; pp.: [1-3] 4-359 [5] index & contents, [3] advert., [1] blank; total 368 pages. Cover and title-page: : ПУТЕВОДИТЕЛЬ | ПО СОВРЕМЕННОЙ | РУССКОЙ ЛИТЕРАТУРЕ | СОСТАВИЛ ИВ. Н. РОЗАНОВ | Издание второе | “РАБОТНИК ПРОСВЕЩЕНИЯ” | МОСКВА — 1929 || Print run: 4,500 copies. Contributors: Иван Никанорович Розанов (Russian, 1874 – 1959) – author. -
Six in-folio leaves, 2o, incl. title-page, engraved portrait of P. Fendi after Josef Danhauser, 4 pages of printed text, and 10 of 40 colour photomechanical reproductions of Fendi’s watercolour plates (205 x 140 mm), mounted on vellum paper with blind stamp (398 x 305 mm) in a parchment-backed flapped album (defective), gilt-stamped, with straps. Limited edition of 600 copies. The publisher is not stated but is sometimes attributed to C. W. Stern in Vienna. Limitation statement and imprint missing. Title-page (brown and black): PETER FENDI | VIERZIG EROTISCHE AQUARELLE | IN FAKSIMILEREPRODUKTION. MIT EINEM PORTRÄT | PETER FENDIS VON JOSEF DANHAUSER | UND EINER EINFÜHRUNG | VON KARL MERKER || Catalogue Raisonné: Nordmann II № 198, p.96. Contributors: Peter Fendi (Austrian, 1796 – 1842) Josef Danhauser (Austian, 1805 – 1845) Karl Merker – author/introduction. -
Three-quarter waist portrait of French actor Jean-Paul Belmondo in the film Peur sur la Ville, directed by Henri Verneuil in 1975. Autographed in black ink on a light area of the image above the head: “Pour Scott Schutte | Bien amicalement | J.P. Belmondo”. Paper watermarked "Agfa" in a diamond. Dimensions: 147 x 100 mm -
Hardcover volume, 19 x 13 cm, grey cloth with gilt lettering to spine, grey/cream dust jacket lettered throughout, price “10s 6d | NET” unclipped. Covers rubbed, dust jacket has a purple ink stain on the back bottom. Black ink inscription to recto ffl. Collation: a-o8 p10, total 122 leaves; pp.: [6] 1-237 [238]. 1st edition, 1st issue / Great Britain. Title-page: THE END OF THE | AFFAIR | by | GRAHAM GREENE | {publisher’s device} | — | WILLIAM HEINEMANN LTD | MELBOURNE :: LONDON :: TORONTO || Imprint: FIRST PUBLISHED 1951 | PRINTED IN GREAT BRITAIN | AT THE WINDMILL PRESS | KINGSWOOD, SURREY || Dedication: To C. (Catherine Walston, nee Crompton, American, 1925 – 1978) Contributors: Graham Greene (British, 1904 – 1991) William Henry Heinemann (Jewish-British, 1863 – 1920) -
И. М. Калинин. Под знаменем Врангеля. Заметки бывшего военного прокурора. - Л.: Рабочее из-во "Прибой", 1925. - 273 с.
Тираж 7125 экз.
Об авторе: «К моменту февральской революции я занимал должность помощника военного прокурора Кавказского военно-окружного суда... Я не был политиком, но не переносил Союза русского народа. Падение монархии приветствовал. В 1917 году в г. Эрзеруме, занимая довольно приличный пост, работал в самом тесном содружестве с Советом солдатских и рабочих депутатов. Меньшевики, эсэры, большевики постоянно навещали меня, зная, что я хотя и внепартийный, но искренно предан делу революции». В 1918-м Калинину удалось перебраться в занятый Добровольческой армией Екатеринодар, откуда в конце сентября 1918 г. он выехал на Дон. «Здесь тоже мобилизовали всех офицеров. Мне ничего другого не оставалось, как поступить на службу в только что сорганизованный Донской военно-окружной суд». Будучи профессиональным военным юристом Калинин в дальнейшем состоял прокурором при временном Донском военном суде.
По возвращении из эмиграции полковник Калинин, как и многие другие репатрианты, пытался избавиться от клейма «бывшего белогвардейца». 5 октября 1937 г. И. М. Калинин, в то время преподаватель рабочего факультета Ленинградского автодорожного института, был арестован по решению Комиссии НКВД и Прокуратуры СССР . 2 ноября 1937 г. он был приговорен по ст. 58-6-8-11 УК РСФСР к высшей мере наказания и расстрелян в Ленинграде 10 ноября 1937 года.
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Title: Illustrated Catalogues of Tokyo National Museum: Ukiyo-e Prints [東京国立博物館図版目録 | 浮世絵版画編] (Tōkyō Kokuritsu Hakubutsukan zuhan mokuroku | Ukiyoe hanga hen); Publisher: Tokyo National Museum [東京国立博物館] (Tōkyō Kokuritsu Hakubutsukan). Three volumes, 26.3 x 18.7 cm, uniformly bound in black cloth with white characters to front cover and spine. Title-page: ILLUSTRATED CATALOGUES OF | TOKYO NATIONAL MUSEUM | UKIYO-E PRINTS | <1 (2, 3) > | 東京国立博物館図版目録 | 浮世絵版画編 | < 上 (中, 下) > || Volume 1 [上]: unpaginated 1 t.p., 2 colour plates, 1 contents, 70 (1-1354) – b/w plates, 1 + 48 paginated leaves (1-95 [96]) – text. Volume 2 [中]: unpaginated 1 t.p., 2 colour plates, 1 contents, 67 (1355-2493) – b/w plates + 33 paginated leaves (1-65 [66]) – text. Volume 3 [下]: unpaginated 1 t.p., 2 colour plates, 1 contents, 83 (2494-3926) – b/w plates + 35 paginated leaves (1-69 [70]) – text. Black and white photomechanical reproduction of almost four thousand woodblock prints with titles by the artist and in chronological order. -
Front cover: И. ТРОЦКИЙ | ЖИЗНЬ | ШЕРВУДА | ВЕРНОГО | ИЗДАТЕЛЬСТВО | ПОЛИТКАТОРЖАН | 19 • МОСКВА • 31 || Title page: И. М. ТРОЦКИЙ | ЖИЗНЬ | ШЕРВУДА – ВЕРНОГО | (ОЧЕРКИ И МАТЕРИАЛЫ) | ИЗДАТЕЛЬСТВО ВСЕСОЮЗНОГО ОБЩЕСТВА ПОЛИТКАТОРЖАН И ССЫЛЬНО-ПОСЕЛЕНЦЕВ |1 9 МОСКВА 3 1 || Pagination: [1-4] 5-277 [3]. Collation: 8vo; [1]8 2-178, 184. Binding: Quarter burgundy cloth, paper over cardboard. Library ‘pocket’ to front pastedown. Inscriptions and marks: Inscription to t.p. in purple ink: «323.2/П76»; stamp in purple ink “193” and “3” handwritten; black in stamp “1935”; purple ink oval stamp: «БИБЛИОТЕКА * МОСК. ХУДОЖ. ТЕАТРА *», inside handwritten: 3703; same stamp at p. 278. Print run: 5,000 copies. Contributor: Исаак Моисеевич Троцкий (Russian-Jewish, 1903 – 1937) – author of the text. -
Title page: MODERN | FILM | SCRIPTS | THE THIRD MAN | a film by | Graham Greene | and Carol Reed | Simon and Schuster, New York. Pagination: [1-4] 5-134 [2] blank. Binding: publisher’s pictorial wrappers with the film still and lettering in blue and black to front, back, and spine. Size: 20.2 x 14 cm. The Third Man is a 1949 British film directed by Carol Reed, written by Graham Greene and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Contributors: Graham Greene (British, 1904 – 1991) – author. Carol Reed (British, 1906 – 1976) – film director. Simon & Schuster (NY) – publisher. Villiers Publications, Ltd. (London) – printer. -
12 hand-coloured soft-ground etchings by André Collot, unbound, in a paper folder with pink lettering and vignette engraved on wood, with a title-page in black: JEUNESSE | 12 VERNIS MOUS COLORIÉS | tires à exemplaires | réservés aux Amis de l’Artiste | 1933 ||, in a frame. Edition: 1st edition, limited to 60 copies. Catalogue raisonné: Dutel 1920-70: 1786. -
Cover with title: Im Garten der Aphrodite | 18 Bildgaben | von | Franz von Bayros | {vignette} | Privatdruck || in a frame; table of contents and limitation to verso; 18 plates with the drawings of Bayros in collotype reproduction, each mounted on cardboard and protected with the remnants of tissue guards, some lacking. Of the publisher’s folder, only the front board with an oval title label is present. Some images signed “Choisy le Conin” – von Bayros’s pseudonym. Two prints are missing: (1) Das Füßchen and (2) Die Liebesschaukel, the other 16 prints present. The vignette on the cover is a photomechanical reproduction. Edition: limited to 350 copies of which this is № 253. According to Christie’s: a collotype reprint, about twenty years after their first publication. English equivalent: The Garden of Aphrodite. Portfolio with 18 photogravures. Catalogue raisonné: The amorous drawings of the Marquis von Bayros (1968): pp. 177-1877; Bayros Zeichningen (1987): pp. 143-152. -
Description: Original cream French flapped wrappers, 27.4 x 20 cm, in a white moiré double slipcase 28.5 x 21.5 cm; collated 4to, gatherings with double-page illustrations collated 6to; printed on thick wove paper watermarked “BFK RIVES”, outer and bottom margins untrimmed; paginated: [2 blanks] [1-8] 9-140 [4] [2 blanks], total 44 pages (besides the blanks in wrappers), illustrated with 12 full-page and 4 in-text drypoint plates by Georges Viglino after pencil drawings by Gaston de Sainte-Croix. Enriched with 16 leaves of plates printed in sepia on Arches teinté paper (watermarked). Title-page (in salmon and black): NOUS | DEUX | ILLUSTRE DE | SEIZE POINTES SÈCHES ORIGINALES | ÉDITIONS DU CYCLAMEN – M CM LVI || Limitation: A print run of 200 copies, of which 2 copies (A and B) on Japon Nacré + one suite of plates on Japon Impérial, 30 copies (№ 1-30) on Rives + one suite of plates on Arches, and 168 copies (№ 31-198) on Rives pur fil. This copy is № 29, on BFK Rives with a suite on Arches. Catalogue raisonné: Dutel (1920-1970) № 2055, p. 282. Contributors: Marcel Valotaire (French, 1889 – 1979) – author Gaston de Sainte-Croix (French, 1904 – 1977) – artist Georges Viglino – engraver/printer (attributed by Dutel). Jacques Vialetay – publisher (attributed by Dutel). -
Description: Hardcover volume, 35 x 25.1 cm, ochre cloth with gilt lettering and vignette to spine; pp.: [1-6] 7-389 [3 blank], total 196 leaves, 16 illustrations in colour, 1067 in b/w; in a pictorial slipcase 36 x 26 cm. Title-page: The | Japanese | Pillar | Print | Hashira-e | — | Jacob Pins | Foreword by Roger Keyes | {publisher’s device} | Robert G. Sawers Publishing | 5 SOUTH VILLAS | LONDON NW I 9 BS || Edition: Limited edition of 1000 copies, this is copy № 520. Contributors: Jacob Otto Pins (German-Israeli, 1917 – 2005) Roger Keyes (American, 1942 – 2020) -
An essay by Sergei Petrovich Varshavsky [Сергей Петрович Варшавский] (Jewish-Russian, 1906 – 1980) about a poem Жди меня (Wait for Me, Zhdi menia) written by Konstantin Simonov [Константин Михайлович Симонов] (Russian, 1915 – 1979) in August 1941. Magazine, softcover, publisher’s wrappers, 20 x 12.5 cm, collated 16mo: [1]-916 (total 144 leaves), pp.: [2] 3-286 [2] (total 288 pages). Bimonthly (6 times a year) magazine "Вопросы литературы" (Questions of Literature, Voprosy literatury) published from 1957; circulation of 15,640 copies. Editor-in-Chief (1979-87): Мстислав Борисович Козьмин (Russian, 1920 – 1992). -
Photographic portrait of poet Joseph Brodsky, head, hand, and shoulder, three-quarters to the right, wearing glasses and with a cigarette. Pencil-signed on the mat: 4/45 • Mikhail Lemkhin; same inscription on the back of the print, and ink stamp ©Mikhail Lemkhin. Sitter: Joseph Brodsky [Иосиф Александрович Бродский ] (Russian-American-Jewish, 1940 – 1996). Size: mat: 40.5 x 51 cm; window: 26.5 x 30 cm; print: 28 x 35.4 cm. -
Two hardcover volumes, 22 x 15 cm each, uniformly bound in quarter orange cloth over blue cloth, red and blue lettering to spine, in a dust jacket lettered in yellow and white over red THE COMPLETE | WORKS OF | O. HENRY | THE DEFINITIVE COLLECTION | OF AMERICA’S MASTER | OF THE SHORT STORY | { OH monogram} | WITH A FOREWORD BY | HARRY HANSEN || Title-page: THE COMPLETE WORKS OF O. HENRY | FOREWORD BY HARRY HANSEN | VOLUME I (II) | 1953 | DOUBLEDAY & COMPANY, INC. GARDEN CITY, NY || Vol. 1: ffl, [i-v] vi-xiii [xiv] [2] [1] 2-810, ffl. Vol. 2: ffl, [i-v] vi-viii [2] [811] 812-1692, ffl. Contributors: O. Henry [William Sydney Porter] (American, 1862 – 1910) – author. Harry Hansen (American, 1884 – 1977) – author/foreword. -
Hardcover volume, 35.2 x 27 cm, bound in grey cloth, blind stamped characters to front, brown characters to spine, in a glassine dust jacket, in a double slipcase, the outer case pictorial paper over cardboard, 36 x 28 cm, pp.: [4] [1] 2-104 (plates with photographs of 206 items), [2] 107-138 [4]. Kakiemon [柿右衛門] – book title. 日本の陶磁 – Japanese ceramics, series title. Contributors: Yasunari Kawabata [川端 康成] (Japanese, 1924 – 1972) – author. Tetsuzo Tanikawa [谷川 徹三] (Japanese, 1895 – 1989) – author. Seizo Hayashiya [林屋晴三] (Japanese, 1928 – 2017) – editor. Chūōkōron-sha [中央公論社] – publisher. -
Hardcover volume 36 x 27.5 cm, bound in grey cloth, gilt lettering ЛЕНИНГРАД to front board, red and black labels with gilt lettering, gilt compartments to flat spine, red endpapers with black and white border, pp.: [1-6] 7-402 [2], total 202 leaves with numerous b/w illustrations, plus frontispiece with pasted in b/w plate. Bookplate of Feodor Rojankovsky to front pastedown, ms inscription: “Дорогой Федя, дарю Вам на Ваше рождение эту книгу” signed “Ф. Рожанковский” Half-title (red on tan): ИЗДАНО В ЛЕНИНГРАДЕ | В ДНИ ВЕЛИКОЙ | ОТЕЧЕСТВЕННОЙ ВОЙНЫ || Half-title verso (red on tan): ЛЕНИНГРАДСКИЙ ГОРОДСКОЙ СОВЕТ | ДЕПУТАТОВ ТРУДЯЩИХСЯ | ИСПОЛНИТЕЛЬНЫЙ КОМИТЕТ | {vignette «plan»} | АРХИТЕКТУРНО-ПЛАНИРОВОЧНОЕ | УПРАВЛЕНИЕ | 1943 || Title-page (red on tan) ЛЕНИНГРАД | {vignette «Admiralty»} | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО | «ИСКУССТВО» | ЛЕНИНГРАД – 1943 – МОСКВА || Blue ink stamp to bottom right: Printed in Soviet Union. Title-page verso: РЕДАКЦИОННАЯ | КОЛЛЕГИЯ | Ответственный редактор | БАРАНОВ Н. В. | КАМЕНСКИЙ В. А. | МОРОЗОВ М. В. | РУБАНЕНКО Б. Р. | ФОМИН И. И. | Художник издания | КАМЕНСКИЙ В. А. | Технический редактор | АНИСИМОВ М. Н. Contents (red on tan): АРХИТЕКТУРНО-ПЛАНИРОВОЧНЫЙ | ОБЗОР РАЗВИТИЯ ГОРОДА | РАЗВИТИЕ ГОРОДА В XVIII ВЕКЕ | С. М. ЗЕМЦОВ | РАЗВИТИЕ ГОРОДА В XIX ВЕКЕ | А. Г. ЯЦЕВИЧ | РАЗВИТИЕ ГОРОДА С 1917 ПО 1935 г. | Б. Р. РУБАНЕНКО | ГЕНЕРАЛЬНЫЙ ПЛАН РАЗВИТИЯ | ЛЕНИНГРАДА | Н. В. БАРАНОВ | ИЛЛЮСТРАЦИИ | ГОРОДА || verso: {vignette} | ГЕНЕРАЛЬНЫЙ ПЛАН ГОРОДА ЛЕНИНГРАДА. || Print run: 2,500 copies. Provenance: Feodor Rojankovsky [Rojan, Фёдор Степанович Рожанковский] (Russian-American, 1891 – 1970). Contributors: Каменский, Валентин Александрович (Russian, 1907 – 1975) Земцов, Станислав [Исай] Маркович (1906 – ?) Яцевич, Андрей Григорьевич (Russian, 1887 – 1942) Рубаненко, Борис Рафаилович (Russian-Jewish, 1910 – 1985) Баранов, Николай Варфоломеевич (Russian, 1909 – 1989) Фомин, Игорь Иванович (Russian, 1904 – 1989) -
The Colophon, A Book Collectors' Quarterly
- The colophon (new series): A quarterly for bookmen / Summer 1935, № 1, vol. 1. — NY: Pynson Printers, 1935. Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 7-159 [160] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | SUMMER 1935 | VOLUME I • NEW SERIES • NUMBER 1 | NEW YORK, N. Y. ||
- The colophon (new series): A quarterly for bookmen / Autumn 1935, № 2, vol. 1. — NY: Pynson Printers, 1935. (2 copies). Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 167-315 [315] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1935 | VOLUME I • NEW SERIES • NUMBER 2 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1936, № 1, vol. 2. — NY: Pynson Printers, 1936. Hardcover, 24 x 16 cm, cloth serial design; pp: [4 blanks] [6] 7-157 [158] [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1936 | VOLUME II • NEW SERIES • NUMBER 1 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Winter 1936, № 3, vol. 1. — NY: Pynson Printers, 1936. (2 copies) Hardcover, 24 x 16 cm, paper boards, serial pictorial design; pp: [4 blanks] [6] 323-480 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | WINTER 1936 | VOLUME I • NEW SERIES • NUMBER 3 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1937, № 4, vol. 2. — NY: Pynson Printers, 1937. Hardcover, 24 x 16 cm, cloth serial design; pp: [4 blanks] [6] 487-628 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1937 | VOLUME II • NEW SERIES • NUMBER 4 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Summer 1938, № 3, vol. 3. — NY: Pynson Printers, 1938. Hardcover, 24 x 16 cm, cloth new serial design; pp: [4 blanks] [6] 335-476 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | SUMMER 1938 | VOLUME III • NEW SERIES • NUMBER 3 | NEW YORK ||
- The colophon (new series): A quarterly for bookmen / Autumn 1938, № 4, vol. 3. — NY: Pynson Printers, 1938. Hardcover, 24 x 16 cm, cloth new serial design; pp: [4 blanks] [6] 483-632 [4 blanks]. THE | COLOPHON | new series | A QUARTERLY FOR BOOKMEN | {woodcut vignette} | — | AUTUMN 1938 | VOLUME III • NEW SERIES • NUMBER 4 | NEW YORK ||
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Библиотека А.С.Пушкина. Библиографическое описание.
Пушкин и его современники. Материалы и изследования. Вып. IX- X. Повременное изданiе Коммиссiи для изданiя сочиненiй Пушкина при Отдѣленiи Русскаго языка и словесности Императорской Академiи Наукъ.
СПб.: Тип.Императорской Академiи Наук, 1910. - 461 стр.
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Portrait of Russian actress Maria Gavrilovna Savina, a lithograph on tan paper, by artist Osip Braz, 1900.
Maria Gavrilovna Savina (Мария Гавриловна Савина), a renowned Russian stage actress, born as Maria Podramentsova (Подраменцова) on April 11, 1854 in Kamianets-Podilskyi (Ukraine, Russian Empire) and died on September 21, 1915, in Saint Petersburg. Osip Emmanuilovich Braz (Осип Эммануилович Браз; 16 January 1873 in Odessa - 6 November 1936 near Paris) was a Russian painter of Jewish descent. Imprisoned by the Soviets in 1924 (the Solovki special prison-camp), released in 1926 and emigrated to Germany in 1928. Married to Lola Landshoff. http://russia-ic.com/people/culture_art/b/805/ "All his family members suffered from severe tuberculosis. After losing his wife Lola Lantsgof and both sons, he spent the last year of his life alone. Osip Braz passed away on November 6, 1936, and was laid down to rest at the Bagneux Cemetery in Paris." Buried at Bagneux, Hauts-de-Seine, Île-de-France, France. -
Title: CURIOSA | An | Exhibition | of | Illustrated | Erotic | Books | HOBART & MACLEAN || Pagination: 16 unpaginated pages with bibliography of 49 editions with prices and 51 images. Stapled softcover, original green wrappers with lettering to front and illustration to back. Size: 21 x 15 cm. -
Half-title: АКАДЕМИЯ НАУК СССР | Литературные памятники | {serial device} || Title page: ФЕОФРАСТ | ХАРАКТЕРЫ | ПЕРЕВОД, СТАТЬЯ И ПРИМЕЧАНИЯ | Г. А. CТРАТАНОВСКОГО | ИЗДАТЕЛЬСТВО «НАУКА» | Ленинградское отделение | Ленинград | 1974 || Frontispiece: ΘΕΟΦΡΑΣΤΟΥ | ΧΑΡΑΚΤΗΡΕΣ Pagination: [1-5] 6- 123 [124]. Collation: 8vo; [1]-68, 76, 88 (total 62 leaves); signed ¼7, ½7. Binding: publisher’s serial green wrappers, lettering on a scroll. Contributors: Theophrastus [Θεόφραστος, Theόphrastos, Теофраст, Феофраст] (Greek, c. 371 – c. 287 BC) – author. Стратановский, Георгий Андреевич (Russian, 1901 – 1986) – translator. -
Title (chain border): CANDIDE | VOLTAIRE | ILLUSTRATIONS BY | MAHLON BLAINE | {vignette} | NEW YORK | WILLIAMS, BELASCO | AND MEYERS || Title verso: (top) COPYRIGHT, 1930, BY WILLIAMS, BELASCO & MEYERS || (bottom) PRINTED IN THE UNITED STATES OF AMERICA | BY J. J. LITTLE & IVES COMPANY, NEW YORK || Pagination:[1-6] 7-144, headpiece, frontispiece and 5 plates after Blaine’s pen drawings, within the pagination. Binding: 25 x 16.5 cm; blue cloth, blind-stamped frame, stamped-gilt lettering to front board and spine, thick wove paper, upper edge blue, fore-edge untrimmed, yellow vergé endpapers. Arouet, François-Marie [Voltaire] (French, 1694 – 1778)– author. Woolf, Herman Irwell [Chambers, Dorset] (British, 1890 – 1958) – translator. Blaine, Mahlon [Hudson, G. Christopher] (American, 1894 – 1969) – illustrator. Williams, Belasco and Meyers (NY) – publisher. J. J. Little & Ives Company (NY) – printer. See the Cameo Classic reprint [LIB-2777.2021]. -
Title-page: TALES FROM SHAKESPEARE | CHARLES AND MARY LAMB | — | With an Introduction by | MARTIN ARMSTRONG | {space} | {publisher’s device} | COLLINS | LONDON AND GLASGOW || Pagination: [1-4] 5-256, frontispiece: reproduction of portrait of Charles Lamb. Edition: reprint of 1953 edition (WorldCat); in Collins Classics series. Binding: 18.5 x 11 cm, semi-soft, crimson faux morocco, blind-stamped fillet border, gilt lettering to spine, TEG, slipcase. Contributors: William Shakespeare (English, 1564 – 1616) Mary Ann Lamb (British, 1764 – 1847) – author. Charles Lamb (British, 1775 – 1834) – author. Collins Clear-Type Press & Publisher (London; Glasgow) – printer and publisher. Note: “On the writing desk were two books – identical copies of Lamb’s Tales From Shakespeare. […] — Why did you choose Lamb? — It was the only book I could find in duplicate except Uncle Tom’s Cabin…” Graham Greene. Our Man in Havana. -
Title-page (turquoise and black): WILLY ET COLETTE WILLY | CLAUDINE | A L'ECOLE | ILLUSTRATIONS DE SUZANNE BALLIVET | ÉDITIONS DU HOUBLON | BRUXELLES || Front wrapper: WILLY ET COLETTE WILLY | {vignette} | ILLUSTRATIONS DE SUZANNE | CLAUDINE | A L'ÉCOLE || Description: French flapped wrappers, 21 x 14.5 cm, lettered front wrapper and spine, in glassine dustcover, paginated [1-8] 9-242 [6], 248 pages total, plus 8 photomechanical reproductions in colour after Suzanne Ballivet. Contributors: Sidonie-Gabrielle Colette [a.k.a. Colette] (French, 1873 – 1954) – author. Henry Gauthier-Villars [a.k.a. Willy] (French, 1859 – 1931) – author. Suzanne Ballivet (French, 1904 – 1985) – artist. -
Description: Publisher’s French flapped wrappers 28.2 x 19.2 cm, lettering to front cover “SCÈNES | DE | PÉRIPATÉTICIENNES | Εις το αφρωδιαζειν αγει | MCMIII”, pp. [1-6] 7-132 [4]. 10 laid-in (unbound) colour plates after André Collot, including the title-page vignette. Text printed on laid paper, plates on wove paper. According to J.-P. Dutel (1920-1970) № 2366, p. 356, this is a pirated reprint with 11 plates of the 1927 or 1935 edition of “Douze douzains de dialogues”, illustrated with 12 hand-coloured etchings after André Collot (№ 1427, 1428, p. 137, ibid.). Limitation of 200 copies seems fake as per Pia, the copy in BNF bears number 262 (Pia № 1213, p. 635; № 359, p. 200). Title-page: SCÈNES DE | PÉRIPATÉTICIENNES (arch) | Εις το αφρωδιαζειν αγει | MCMIII || Pictorial t.p.: {vignette in colour} | Douze douzains de Dialogues | ou | Petites scènes amoureuses | * || (text in fac-simile ms). Limitation: edition is limited to 200 copies of which this is copy № 44. Contributors: Pierre Louÿs (French, 1870 – 1925) – author. André Collot (French, 1897 – 1976) – artist. See: LIB-2819.2021 in this collection. -
Publisher's flapped portfolio 32.8 x 26.8 cm, gilt-ruled and gilt-lettered quarter faux-parchment waxed paper over brown paper boards with pasted illustration after von Bayros within gilt arabesque frame. Possibly published in Vienna by Heinrich Conrad in 1905 or 1908. The portfolio contains the title page with a vignette and 15 loose wove paper sheets 32 x 26.2 cm of collotype reproductions after drawings by Franz von Bayros. Cover gilt lettering: Choisÿ | le Conin | Erzählungen | am | Toiletten- | tische || Title-page: Erzählungen | am Toilettentische | von | CHOISY LE CONIN | {vignette} || Title-page verso: Inhalt: | 1. Die Tabaksdose | 2. Viola de Gamba | 3. Der Bote | 4. Nicht drängeln, Kinder! | 5. Die blaue Feder | 6. O what a pretty like-place! | 7. Die Sonnenuhr |8. Der Temel der der Cotÿs | 9. Der Fetischist | 10. Jupiter und Europa | 11. Die Witwe | 12. Paroxÿsme-erotique | 13. Der Rivale | 14. Die rote Lehrerin | 15. Tantalus | Nicht im Handel. || Catalogue raisonné: The amorous drawings of the Marquis von Bayros / Part I and II. — NY: Cythera Press, 1968; pp. 95-111 [LIB-2246.2019] -
Description: Hardcover, 24.5 x 20 cm, collated 4to, modern half crushed Morocco over marbled boards, raised bands, gilt fillets, fleurons, and lettering to spine, top margin gilt; pp.: [4] [1-5] 6-238 [2] [4]; 1-314, total 124 leaves, 20 in-text vignettes in colour after André Collot, b/w tail-pieces; printed on BFK Rives watermarked wove paper; original wrappers absent. Limitation: Print run of 331 copies of which this is copy № 255. Title-page (blue and black): ANDREA DE NERCIAT | FÉLICIA | OU MES FREDAINES | ORNÉ DE VINGT EAUX-FORTES | COLORIÉES A LA MAIN | PAR L'ARTISTE | PARIS | 1928 || Catalogue raisonné: Dutel (1920-1970) № 1556, p. 165. Contributors: André-Robert Andréa de Nerciat (French, 1739 – 1800) – author. André Collot (French, 1897 – 1976) – artist. Another copy of the same title with illustrations after Louis Icart in this collection: LIB-3046.2022. -
Hardcover, 28.8 x 22.3 cm, green cloth, gilt lettering to spine, pictorial dust jacket; pp.: [i-iv] v-xiv, 1-274, total 288 pp., ils. ISBN: 9780521392228, 9780521457330, 0521392225, 0521457335. Title-page: COLOR | AND | MEANING | Practice and Theory in Renaissance Painting | MARCIA B. HALL | CAMBRIDGE UNIVERSITY PRESS | Cambridge | New York Port Chester Melbourne Sydney || Marcia B. Hall (American, b. 1939) -
Paperback volume, 25.8 x 18.6 cm, brown embossed wrappers with framed Japanese characters along the outer margin, pictorial dust jacket with series design (black lettering and vignette in silver border to wrappers, black lettering on silver to spine); pp: [1-6]: h.t./frontis. (colour plate pasted in), t.p./imprint, contents/blank), 7-32 text, 33-96 (59 plates w/captions). Title-page (in frame): MASTERWORKS OF UKIYO-E | SHARAKU | by Jūzō Suzuki | Translated by John Bester | {publisher’s device} | KODANSHA INTERNATIONAL LTD. | Tokyo, Japan & Palo-Alto, Calif., U.S.A | {vertical between rules 写楽} || Series: Masterworks of ukiyo-e, № 2. Contributors: Jūzō Suzuki [鈴木 重三] (Japanese, 1919 – 2010) – author. John Bester (British, 1927 – 2010) – translator. Tōshūsai Sharaku [東洲斎 写楽] (Japanese, fl. 1794 – 1795) – artist. -
Paperback, 25 x 17 cm, publisher’s wrappers with red and black lettering in a pictorial frame by Vysheslavstev; pp.: [i-vii] viii-xv [xvi blank], [1-5] 6-348 [4]; collated 8vo: π8 1-228, total 184 leaves, 368 pages; gatherings 1-22 uncut. Because the author was banned, lettering on the spine was covered by a glued strip of blank paper; only the year 1922 was left visible. Front wrapper: ОЧЕРК | РАЗВИТИЯ | РУССКОЙ | ФИЛОСОФИИ | ГУСТАВА | ШПЕТА | ПЕРВАЯ | ЧАСТЬ | 1922 | ПЕТЕРБУРГ | ИЗДАТЕЛЬСТВО “КОЛОС” || Title-page: similar lettering in black only with no frame. Design of the front wrapper and the publisher’s device (π1) by Николай Николаевич Вышеславцев [N. Vysheslavstev] (Russian, 1890 – 1952). Title: Sketch on the development of Russian philosophy, Part one. [Part two was never published]. Author: Густав Густавович Шпет [Gustav Shpet] (Russian, 1879 – 1937) – executed by fire squad on 16 November 1937. -
Portfolio 265 x 225 mm, black half-buckram over diapered cardboard with flaps, black with gilt lettering in frame to front “R. KELLER | MÄRCHEN”, t.p. printed on wave paper, the folder and engravings printed on laid paper, 10 loose plates, 240 x 210 mm sheet, 135 x 110-115 mm plate; re-issue of ten plates of the first edition of 16 plates published in Austria in c. 1910s. Title-page: EROTISCHE | MÄRCHEN | 10 RADIERUNGEN | VON | RUDOLF KELLER | PRIVATDRUCK 1919 || Die Mappe enthält folgende originalradierungen: 1. Aschenbrödel; 2. Dornröschen; 3. Zwerg Nase; 4. Froschkönig; 5. Der gestiefelte Kater; 6. Hänsel und Gretel; 7. Der fliegende Koffer; 8. Schneewittchen mit den 7 Zwergen; 9. Die kleine Seejungfer; 10. Der kleine Daumling Dieses Werk wurde in einer einmaligen Auflage von 250 numerierten Exemplaren hergestellt und darf nur an Gelehrte und Sammler abgegeben werden. Die Platten wurden vernichtet. Nr. 1—50 sind vom Künstler signierte Vorzugsdrucke. Dieses Exemplar erhielt Nr. 0153. Translation: The folder contains the following original etchings: 1. Cinderella; 2. Sleeping Beauty; 3. Dwarf nose; 4. The Frog Prince; 5. Puss in Boots; 6. Hansel and Gretel; 7. The Flying Trunk; 8. Snow White with the Seven Dwarfs; 9. The Little Mermaid; 10. Little Thumbling. This work was produced in a one-time edition of 250 numbered copies and may only be sold to scholars and collectors. The copperplates were destroyed. Nos. 1-50 are special prints signed by the artist. This copy was given number 0153. Seller's description: Erotische Märchen. S.l., Privatdruck, 1919. In-8, en feuilles, sous chemise demi-chagrin vert recouverte de papier japonais. Recueil de 10 eaux-fortes originales de Rudolf Keller. Ces eaux-fortes érotiques dans les teintes brunes s'inspirent des contes de fées traditionnels comme Cendrillon, La Belle au bois dormant, Hansel et Gretel, Blanche-Neige, Le Petit Poucet etc. Tirage à 250 exemplaires. Chemise défraîchie. Jacob Grimm (German; 1785 – 1863) Wilhelm Grimm (German, 1786 – 1859) Charles Perrault (French, 1628 – 1703) Hans Christian Andersen (Danish, 1805 – 1875) -
Hardcover, 17 x 13.4 cm, black buckram with red and silver vignette, lettering to front and spine, price and publisher's name embossed to back, pictorial endpapers with white lettering to red strips; pp.: [1-4] 5-268 [4], ils., collation: 16mo: 116 28 3-616 7-88 9-1016, total 136 leaves plus 3 photo plates after p. 32, 48, and 208. Frontispiece and in-text woodcuts after И. И. Старосельский. Title-page (red and black): ДАНИИЛ ГРАНИН | ГЕНЕРАЛ КОММУНЫ | (ЯРОСЛАВ ДОМБРОВСКИЙ) | — | Издательство | «СОВЕТСКАЯ РОССИЯ» | Москва — 1965 || Print run: 50,000 copies. Contributors: Даниил Александрович Гранин (Russian, 1919 – 2017) – author. Илья Израилевич Старосельский (Russian-Jewish, 1918 – 1968) – artist. Jaroslaw Dombrowski [Jarosław Dąbrowski] (Polish-French, 1836 – 1871) – character. -
Кристофер Марло. Сочинения. Вступительная статья и комментарии А. Парфенова. Редакция переводов А. Смирнова. Оформление художника В. Носкова. - М.: Государственное издательство художественной литературы, 1961. 664 с.
А. Парфенов. Кристофер Марло.
Тамерлан Великий. Часть 1 - перевод Э. Линецкой; Часть 2 - перевод Е. Полонской.
Трагическая история доктора Фауста. Перевод Е. Бируковой.
Мальтийский еврей. Перевод В. Рождественского.
Эдуард II. Перевод А. Радловой.
Парижская резня. Перевод Ю. Корнева.
Геро и Леандр. Перевод Ю. Корнева.
Страстный пастух - своей возлюбленной. Перевод И. Жданова.
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Hardcover volume, 24.5 x 17.5 cm, bound in black buckram with blind barbed wire design and silver lettering to front cover and spine, pp.: [2] 3-799 [800]. Одеський мартиролог: Данi про репресованих Одеси i Одеськоï областi за роки радянськоï влады (Серiя «Реабiлiтованi iсторiэю») (Том 2) / Уклад.: Л. В. Ковальчук, Г. О. Разумов— Одеса : ОКФА, 1999. Title-page: Научно-документальная серия книг | «РЕАБИЛИТИРОВАННЫЕ ИСТОРИЕЙ» | ОДЕССКИЙ | МАРТИРОЛОГ | ТОМ 2 | Одесса | ОКФА | 1999 || ISBN: 966-571-035-4 Print run: 1,000 copies. Ковальчук, Лидия Всеволодовна Разумов, Георгий АлександровичPages 515-531. 13. Постановление помощника уполномоченного Одесского окружного отдела ГПУ Найдмана по делу сотрудников Индо-Европейского телеграфа, репрессированных в 1927 г. по обвинению в шпионаже. […] ВАРШАВСКОЙ Эльзы Филипповны, 45 лет, уроженицы г. Одессы, по национальности – еврейка, происходит из купеческой семьи, подданства УССР, образования среднего, замужняя, не судившаяся, беспартийная, в союзе не состоит, без профессии, проживавшая по ул. Хмельницкого в д. № 18, в совершении преступлений, предусмотренных ст. 54-6 УК УССР, нашел: […] Note: ст. 54-6 — шпигунство: позбавлення волі на строк не менш як 3 роки, з конфіскацією всього або частини майна, аж до вищого заходу соціального захисту — розстрілу.
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Title: OLD DUTCH | POTTERY AND TILES | BY ELISABETH | NEURDENBURG | LITT. D., READER IN THE HISTORY OF ART AT | THE UNIVERSITY OF GRONINGEN. TRANSLATED | WITH ANNOTATIONS BY | Bernard Rackham | DEPUTY KEEPER, DEPARTMENT | OF CERAMICS, VICTORIA AND | ALBERT MUSEUM | […] | WITH ONE HUNDRED AND TWELVE | ILLUSTRATIONS OF WHICH NINE | ARE IN COLOUR | LONDON: BENN BROTHERS, LIMITED | 8 BOUVERIE STREET, E.C. 4 | 1923 || Verso to half-title: Of this book 100 copies only for sale have been printed on English | hand-made paper, bound in pigskin and signed by the Authoress | and Translator. These copies also contain an extra colour plate. | This in Number “7” (in manuscript) | Two signatures (ink, manuscript) || Pagination: [i, ii] – h.t. / tirage, [iii, iv] – t.p. / imprint, [v, vi] – dedication to Dr. A. Pit / blank, vii-xv [xvi blank] [1, 2] 3-155 [156 blank], frontispiece (colour) and 59 leaves of plates (9 colour) with 112 figures, with lettered protective sheets. Collation: 4to in 8th; [A]8 [B]8 C-K8 L6; frontis., +59 leaves of plates. Binding: 30 x 24 cm, Full dark brown pigskin with gilt ornament to front board and gilt lettering to spine; printed on thick wove paper, top edge gilt, others untrimmed. Contributors: Neurdenburg, Elisabeth (Dutch, 1882 – 1957) – author [autograph]. Rackham, Bernard (British, 1876 – 1964) – translator [autograph]. Brendon, William (British, 1845 – 1928) – printer. Mayflower Press (Plymouth), William Brendon & Son, Ltd. – printer Benn Brothers Ltd. (British company, 1880 – 1987) Benn, Sir John, 1st Baronet (British, 1850 – 1922) -
Title page: THE | SECRET AGENT | A SIMPLE TALE | BY | JOSEPH CONRAD | METHUEN & CO. | 36 ESSEX STREET W.C. | LONDON || Imprint on t.p. verso: First Published in 1907 Dedication: To H. G. Wells. Pagination: [2] – blank, [6] – h.t., t.p., dedication; 1-442, [2] colophon: THE RIVERSIDE PRESS LIMITED, EDINBURGH / blank; [1-2] 3-40 – Catalogue of books published by Methuen and company, September 1907; total 492 pages. Collation: 8vo; π4, A-Z8 2A-2D8, 2E6, + 20 leaves of advertisement: signed A2 on leaf 5 and A3 on leaf 9, other unsigned, 2E2 signed; total 246 leaves. Binding: Publisher’s burgundy cloth with gilt lettering and elements to spine, lower margin untrimmed, 19.5 x 13.5 cm. Edition: 1st edition, 1st printing ("be be" on the last line of page 117) of 2,500 copied printed. Contributors: Conrad, Joseph (Polish-British, 1857 – 1924) – author. Methuen & Co. (London) – publisher. The Riverside Press Limited (Edinburgh) – printer. Herbert George Wells (British, 1866 – 1946) – dedicatee. -
Title page: A | BIBLIOGRAPHY | OF | THE WRITINGS OF | JOSEPH CONRAD (1895–1920) | BY THOMAS J. WISE | ❦ | LONDON: | PRINTED FOR PRIVATE CIRCULATION ONLY | By Richard Clay & Sons, Ltd. | 1920 || Pagination: [i-viii] ix-xiii [xiv-xvi], [1, 2] 3-105 [106-112], frontispiece with tissue guard in collation; 128 pages total. Collation: 8vo; [A]-H8, 64 leaves total. Binding: 22.5 x 18 cm; terracotta paper boards, black lettering to front and spine; uncut. The device on the recto of the last leaf inscribed: The Ashley library. Privately printed. 1920. Insert: ALS from Thomas J. Wise dated 22/3/21 on watermarked paper (King of Kent | Extra Fine) with letterhead “Kirkstead”, 25 Heath Drive, Hampstead, N.W.3. The letter is a response to a request for two copies of Volume II of Wise’s Swinburne bibliography, which Wise promises to supply the next day to Stevens & Brown (founded in 1864, Literary and Fine Arts Agents). Limitation: 150 copies, private printing. Contributors: Joseph Conrad [Józef Teodor Konrad Korzeniowski] (British-Polish, 1857 – 1924) Wise, Thomas James (British, 1859 – 1937) – compiler, bibliographer. R. Clay & Sons Ltd. (London); Clay, Richard (British, 1789 – 1877) – publisher. The Ashley Library (London) – printer. -
Title-page (in red and black): PARALLELEMENT | PAR PAUL VERLAINE | Orné d’une lithographie de Vertès | Éditions de Cluny, Paris | 35 Rue de Seine 35 || Description: 18.8 x 12.4 cm, French flapped cream wrappers lettered to front and spine, 1st blank leaf, [1-2] h.t. in red / limitation, 3-4] t.p. / blank, 5-127 [128], last blank leaf, plus frontispiece (colour lithography) by Marcel Vertès. Edition: printed on December 5, 1934, by Ducros & Colas in Paris, limited to 2 copies on Japon Nacré (A and B); 3,000 copies on Vergé de Voiron (1-3,000); and several not for sale copies on Papier d’Arches, numbered with Roman numbers. This copy is №282. Contributors: Paul Verlaine (French, 1844 – 1896) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Maitres-imprimeurs Ducros et Colas (Paris) – printer. Éditions de Cluny (Paris) – publisher. Other names: Marcel Vertès, Marcel Vertes, Marcell Vértes -
Description: Limited softcover edition in grey publisher’s wrappers 27 x 21 cm, lettered in a frame “MICHEL VOKAER | BIBLIOGRAPHIE | de | Marcel VERTÈS | PREFACE DE CLAUDE ROGER-MARX | Avec quatre dessins inédits de Vertès | — | EMILE RELECOM | BRUXELLES ||, lettered spine, pp. [1-4 h.t., t.p.] 5-34 [35, 36 blanks] [37 limitation] [38 blank] [39 colophon] [40 blank]; 40 pages total plus 4 photomechanical reproductions of Vertès’ unpublished drawings on glossy paper, extraneous to collation. Catalogue of 82 entries. Received uncut. Title-page: similar to front wrapper, plus «1967» in the bottom under BRUXELLES. Limitation: 7 copies (A-G) on Japon chamois + 2 suites of plates, 25 copies (1-25) on Hollande Van Gelder + 1 suite of plates, 450 copies (26-475) on offset Arduenna, and 40 copies not hor sale (I-XL) on different papers. The total print run is 522 copies, of which this is № 206. Ref: leslibraires.fr Contributors: Michel Vokaer (Belgian, 20th century) – author. Claude Roger-Marx (Jewish-French, 1888 – 1977) – author. Marcel Vertès [Marcell Vértes] (Jewish-Hungarian-French, 1895 – 1961) – artist. Xavier Gustave Emile Relecom (Belgian, 1900 – 1977) – publisher. -
A German translation of de Musset’s “Gamiani ou deux nuits d’excès” illustrated with a reprint title-page and 11 (instead of 16) hand-coloured photogravures after original lithographs by Devéria and Henri Grévedon or Octave Tassaert for 1833 edition, though from the re-drawn stones. Large volume, 40.5 x 31 cm, collated 4to, in black calf with lettering and elaborate gilt border to front and blind border to back, outer and bottom margins uncut, marbled endpapers, text and plates printed on wove paper. The reprint t.p. is different from the original one; in the 1833 edition, the line deux nuits d’excès is waving while here it is straight. Letterpress title-page: ALFRED DE MUSSET | GAMIANI | ODER | ZWEI NÄCHTE DER AUSSCHWEIFUNG || Reprint title-page: Gamiani | OU | DEUX NUITS D’EXCÈS. | {vignette} | Bruxelles | 1833 || Collation: π2 1-74 82, total 32 leaves plus reprint t.p. and 11 plates. Pagination: [4] [1] 2-59 [60], total 64 pages, ils. Limitation: Edition limited to 300 numbered copies, of which this is copy № 32. Contributors: Alfred de Musset (French, 1810 – 1857) – author. Karl Spieler (German, 19th/20th century) – author of the foreword and translator. Achille Devéria (French, 1800 – 1857) – artist (attributed). Pierre Louis Henri Grévedon (French, 1776 – 1860) – artist (attributed). Octave Tassaert (French, 1800 – 1874) – artist (attributed). Catalogue raisonné: Dutel (1650-1880) № A-460, p. 149; Eros invaincu № 68, p. 171-3. -
Title-page: JOHANN WOLFGANG GOETHE | DAS TAGEBUCH | Mit handkolorierten Zeichnungen von Max Schwimmer || Description: Oblong cardboard binding 24.5 x 17.5 cm, with sanguine vignette to front cover, 28 unpaginated leaves, 24 hand-coloured etchings on verso of each leaf with text on recto, numbered edition, this is № 549, signed by the artist (pencil). Contributors: Max Schwimmer (German, 1895 – 1960) – atrist. Johann Wolfgang von Goethe (German, 1749 – 1832) – author. -
Hardcover, 24 x 16 cm, bound in quarter black calf over marbled boards, raised bands and gilt lettering to spine, printed on Van Gelder Zonen laid paper with wide margins, bottom and fore edge untrimmed, pp. [i-viii] ix-xiv, [2] 3-89 [90], total 104 pages, two flyleaves, frontispiece in colour with captioned tissue guard, and 28 b/w plates; total 83 leaves. Title-page: A DESCRIPTIVE CATALOGUE | OF AN EXHIBITION OF | JAPANESE | FIGURE PRINTS | FROM | MORONOBU TO TOYOKUNI | BY | LOUIS V. LEDOUX | {publisher’s device} | NEW YORK | THE GROLIER CLUB | 1924 || Edition: 1st edition limited to 300 copies on Van Gelder Zonen paper in April, 2024. Exhibition from January 25 to March 3, 1923, at the Grolier club. Library of Congress Control Number: 23009175 OCLC Number: 2583847 Louis Vernon Ledoux (American, 1880 – 1948)
