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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862). Date seal and kiwame censor seal: 1840 (Tenpō 11). Media: Untrimmed fan print (uchiwa-e), 227 x 293 mm. Title: Benzaiten Shrine at Honjō Block One [ひとつ目乃弁天] (Hitotsume no Benten). Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sold together with 5 other fan prints for $25,000. Before: Christie's, New York, 1997, lot 93 ($5,520). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 31: "Utagawa Kunisada (1786-1865) A Woman Reading a Letter by the Light of a Lantern. Hitotsume no Benten (One-eyed Benten). 1840. Fan print. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1997, lot 93 ($5,520), The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341. Fine impression and colour. Expertly restored wormholes in the lower margin." Markus Sesko comment regarding the series title: "Some time between in the latter half of the 17th century, blind acupuncturist Sugiyama Waichi (1614–1694) cured a neurotic disease afflicting Shōgun Tokugawa Tsunayoshi. Tsunayoshi asked Sugiyama what he would like as a reward, he answered that all that he would really desire was just one functioning eye. Now here we arrive at a wordplay. “One eye,” as you know, is Hitotsu-me in Japanese. As Tsunayoshi obviously could not reward Sugiyama with an eye, he gave him the entire first block of the Honjō neighbourhood in Edo, measuring about 1.2 ha. So, Honjō Block One is Honjō Hitotsu-me in Japanese as me not only means “eye,” but also “number.” Sugiyama moved there, but as he was praying to Benzaiten enshrined in the Enoshima-jinja southwest of Kamakura, Tsunayoshi gave Sugiyama permission to erect a small shrine on his new premises that was then dedicated to Benzaiten as well. To spare the old blind man the long trip so to speak. This shrine was named Honjō Hitotsu-me Benzaiten Shrine, short Hitotsu-me Benten, meaning the “Benzaiten Shrine at Honjō Block One.” That is, the label in the print refers to this context, i.e., location, not to a one-eyed Benzaiten. Sugiyama also had some rock formations of the “original” Benzaiten Shrine at Enoshima copied at his place, which was named Iwaya (い王や) (see picture attached). The lantern the woman is holding in the print is inscribed “Imuya” (い無や). Usually, the character mu (無) is not read wa in replacing a syllable, so maybe Imuya can be attributed to artistic freedom on part of Utagawa Kunisada, referring to the local Iwaya garden?" -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist signature: By the brush of the 79-year-old Toyokuni [七十九歳豊國画] (Nanajūkyū-sai Toyokuni ga). Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, fl. c. 1832 – 1895); seal: ト/ 海老林 (to, Ebirin). Block carver: Matsushima Masakichi [松島政吉]; seal: carved by Masa [彫政] (Hori Masa). Combined date seal and kiwame censor seal: [子極] 1864 (Bunkyū 4/Genji 1). Media: Untrimmed fan print (uchiwa-e), 223 x 297 mm. Inscription in the cartouches: (R) Wakana-hime [若菜姫], Sawamura Tanosuke III [沢村田之助]; (L) Ashikaga Sanshichirō [足利三七郎], Sawamura Tosshō II [沢村訥升]. Play: Kinoene Soga Daikoku-bashira [甲子曽我大国柱], performed at the Morita theatre [森田座・守田座] (Morita-za) in 1864 (Bunkyū 4/Genji 1), 2nd month (see playbill at MFA-Boston Collection). Playwright: Muraoka Kōji II [村岡幸治]. Actors and Characters: Sawamura Tanosuke III [三代目沢村田之助] (Japanese, 1859 – 1878); other names: Shozan [曙山] (poetry name), Sawamura Yoshijirō I [初代沢村由次郎], here in the role of Princess Wakana [若菜姫] (Wakana-hime) (R). The story about Princess Wakana, Shiranui Monogatari, was written by Ryukatei Tanekazu [柳下亭種員] (Japanese, 1807 – 1858) and published as a 90-volume book of comics between 1849 and 1855. ...The tale revolves around the clash between the Kikuchi and Ōtomo clans. Princess Wakana’s father Ōtomo Sōrin [大友 宗麟] (1530 – 1587) was killed in a battle, and his spirit demanded revenge. To appease her late father's spirit, Princes Wakana acquired the power of the Earth Spider. She often appears in prints with a magic scroll, which helps her fight various enemies. Sawamura Tosshō II [二代目沢村訥升] (Japanese, 1854 – 1879); other names: Kōga [高賀] (poetry name), Sawamura Genpei II [二代目沢村源平], Sawamura Sōjūrō [澤村宗十郎], Suketakaya Takasuke IV [四代目助高屋高助], Sawamura Tosshi VI [六代目澤村訥子] (poetry name), here in the role of Ashikaga Sanshichirō [足利三七郎] (L) with a horse. According to Markus Sesko, the scene comes from the kabuki play Umakiri (馬斬り) by Tatsuoka Mansaku [辰岡万作] (17432 – 1809), which premiered in 1794. It was later assimilated into the Kabuki play Kozotte Mimasu Kuruwa no Datezome [襷廓三升伊達染], which was staged in the 1st lunar month of 1853 at the Nakamura-za. Umakiri is based on a Kyōgen play featured in Hideyoshi’s biography Taikōki [太閤記]. Its plot is that Ashikaga Sanchichirō Yoshitaka [足利三七郎義孝・義高], who is supposed to allude to Nobunaga’s son Oda Sanshichirō Nobutaka [織田三七郎信孝], attacks and kills a horse that is carrying 3,000 ryō (金三千両), money Mashiba Hisayoshi [真柴久吉] (an allusion to Hashiba Hideyoshi [羽柴秀吉]) had sent to be donated to a shrine on Mt. Kōya. The surrounding people try to catch him, but when they hear it is Yoshitaka who killed the horse, they fall to the ground and prostrate, and Yoshitaka leisurely leaves with the money. The plot is very simple, but Yoshitaka’s dashing appearance makes it very pleasing to watch. There are also prints that quote the main protagonist as Ashikaga Sanshichirō Harutaka [足利三七郎春高], and there is another title for the play, Sanzen-Ryō Kogane no Kurairi [三千両黄金蔵入] (Pocketing 3,000 ryō of gold). For reference, see also the BLOG. What these two characters are doing in one play remains a riddle. As Mr Graebner comments: "Most kabuki plays were only performed for one season (two months), and the books were lost. The playwrights have repeatedly used parts of plots from other plays, they have adopted characters, sometimes with the same or similar names. What can be found is the Kabuki Playbill (Tsuji banzuke) with cast and roles; the content is lost".Acknowledgements: Special thanks to Horst Graebner of the Kunisada Project and to Markus Sesko of The Metropolitan Museum, NY, for the analysis of the image and their invaluable contribution. For reference, see also:
MBA-Boston Accession number 11.28192
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Hand-coloured woodcut on wove paper, 267 x 390 mm. On reverse: black ink stamp “5351”. Centre, under the image frame "Mort du Prince Louis Napoléon". Below left: "Télégramme adressé le 2 juin 1879 par le général Chelmsfort, du camp anglais (contrée des Zoulous), au colonel Stanley, ministre de la guerre de la Grande-Bretagne. « Au camp, à sept milles au-dessus de Blood-River, au pied de la montagne Stellezi, 2 juin: Le prince impérial, agissant sous les ordres de l'adjudant quartier-maitre général. a fait une reconnaissance le 1er. Il retournait à cheval au camp le 2 accompagné du lieutenant Carey, du 98e adjudant en second du quartier-maitre général. de six blancs et, quelques Zoulous amis, tous à cheval. A environ dix milles de distance du camp, la petite colonne fit halte at mit pied à terre, un peu à l’écart de la route. Au moment ou le prince venait de donner l'ordre de se remettre en selle. une fusillade partit des hautes herbes qui entourant les kraals. Le prince impérial et deux soldats sont portés manquants par le lieutenant Carey, qui a réussi à échapper et a gagné le camp à la nuit. D'après toutes les circonstances, il 'est pas douteux quo le prince ait été tué. Quelques lanciers du 17 régiment et de l'ambulance partent pour rapporter le corps; mais je vous adresse la présente sans plus attendre, espérant qu'elle arrivera encore à temps pour partir par le courrier. J’ignorais moi-même que le prince impérial eût été désigné pour cette reconnaissance. »" Below right: A la suite de le télégramme, le Times publie les dépêches suivantes: Stelezi-Hill, 2 juin. Au point du jour, une patrouille de cavalerie, sous le commandement du général Marshall. partit à la recherche du prince impérial et parcourut les kraals l'espace de dix milles. Le corps du prince fut découvert dans les herbes à Donga, à 300 mètres du kraal. Il n'avait pas de blessure de balle, mais dix-sept blessures de zagaies par devant. Ses vêtements lui avaient été enlevés. I avait autour du cou une chaine avec un médaillon. Un brancard fut formé avec les lances, et le corps porté par Marchall, Drury, Lowe, le mjor Stewart et d'autres officiers du 17e lanciers, fut. place dans la voiture d'ambulance dans laquelle il est arrivé ici avec une escorte. L'après-midi, il v a eu une parade funèbre. Un profond chagrin règne dans toute la colonne. Le prince n'est pas remonté à cheval après l’attique, parce que son cheval était rétif ; il se mit à courir à pied. Le corps part sous escorte pour être transporté en Angleterre. Bottom right: "Imagerie de P. DIDION, à Metz — Déposé à Metz et à Nancy, le 25 Juin 1879". Paulin Didion (French, 1831 – 1879) – publisher/printer. -
A two-volume set, published in Paris by P.-J. Hetzel in 1845 and 1846.
Vol. 1:
Title: LE | DIABLE A PARIS | — PARIS ET LES PARISIENS — | MŒURS ET COUTUMES, CARACTERES ET PORTRAITS DES HABITANTS DE PARIS, | TABLEAU COMPLET DE LEUR VIE PRIVEE, PUBLIQUE, POLITIQUE, | ARTISTIQUE, LITTERAIRE, INDUSTRIELLE, ETC., ETC. | TEXTE PAR MM. | GEORGE SAND — P.-J. STAHL — LEON GOZLAN — P. PASCAL — FREDERIC SOULIE — CHARLES NODIER | EUGENE BRIFFAULT — S. LAVALETTE — DE BALZAC — TAXILE DELORD — ALPHONSE KARR | MÉRY — A. JUNCETIS — GERARD DE NERVAL — ARSÈNE HOUSSAYE — ALBERT AUBERT — THÉOPHILE GAUTIER | OCTAVE FEUILLET — ALFRED DE MUSSET — FRÉDÉRIC BÉRAT | précédé d’une | HISTOIRE DE PARIS PAR THEOPHILE LAVALLÉE | ILLUSTRATIONS | LES GENS DE PARIS — SERIES DE GRAVURES AVEC LEGENDES | PAR GAVARNI | PARIS COMIQUE — VIGNETTES DE BERTALL | VUES, MONUMENTS, EDIFICES PARTICULIERS, LIEUX CÉLÈBRES ET PRINCIPAUX ASPECTS DE PARIS | PAR CHAMPIN, BERTRAND, D’AUBIGNY, FRANÇAIS. | [DEVICE] | PARIS | PUBLIÉ PAR J. HETZEL, | RUE RICHELIEU, 76 – RUE DE MÉNARS, 10. | 1845 ||
Pagination: ffl, [2 – h.t. / Paris: Typographie Lacrampe et Comp., Rue Damiette, 2 ; Papeir de la fabrique de sainte-marie] [2 – blank / frontis. ‘Diable’ with lantern standing on map of Paris] [2 – t.p. /blank] [I] II-XXXII, [1] 2-380, bfl. Sheet size: 27.5 x 17.5 cm.
Collation: 4to; A(4) – D(4), [1(4)] 2(4) – 47(4), 48(2); illustrations: frontispiece, vignette title-page, numerous text engravings and 99 plates.
Vol. 2: Title: LE | DIABLE A PARIS | — PARIS ET LES PARISIENS — | MŒURS ET COUTUMES, CARACTERES ET PORTRAITS DES HABITANTS DE PARIS, | TABLEAU COMPLET DE LEUR VIE PRIVEE, PUBLIQUE, POLITIQUE, | ARTISTIQUE, LITTERAIRE, INDUSTRIELLE, ETC., ETC. | TEXTE PAR MM. | DE BALZAC — EUGÈNE SUE — GEORGE SAND — P.-J. STAHL — ALPHONSE KARR | HENRY MONNIER — OCTAVE FEUILLET — DE STENDAHL — LEON GOZLAN — S. LAVALETTE — ARMAND MARRAST | LAURENT-JAN —ÉDOUARD OURLIAC — CHARLES DE BOIGNE — ALTAROCHE — EUG. GUINOT | JULES JANIN — EUGENE BRIFFAULT — AUGUSTE BARBIER — MERQUIS DE VARENNES — ALFRED DE MUSSET | CHARLES NODIER — FRÉDÉRIC BÉRAT — A. LEGOYT| précédé d’une | GÉOGRAPHIE DE PARIS PAR THEOPHILE LAVALLÉE | ILLUSTRATIONS | LES GENS DE PARIS — SERIES DE GRAVURES AVEC LEGENDES | PAR GAVARNI | PARIS COMIQUE — PANTHÉON DU DIABLE A PARIS PAR BERTALL | VUES, MONUMENTS, EDIFICES PARTICULIERS, LIEUX CÉLÈBRES ET PRINCIPAUX ASPECTS DE PARIS | PAR CHAMPIN, BERTRAND, D’AUBIGNY, FRANÇAIS. | [DEVICE] | PARIS | PUBLIÉ PAR J. HETZEL, | RUE RICHELIEU, 76 – RUE DE MÉNARS, 10. | 1846 || Pp. : ffl, [2 – h.t. / Paris: Typographie Lacrampe et Comp., Rue Damiette, 2 ; Papeir de la fabrique de sainte-marie] [2 – t.p. /blank] [I] II-LXXX, [1] 2-364, bfl. Sheet size: 27.5 x 17.5 cm. Collation: 4to; A(4) – I(4) – J(4), 1(4), 2(4) – 45(4), 46(2); illustrations: vignette title-page, numerous text engravings and 112 plates.Binding: [allegedly Roger de Coverly (British, 1831 — 1914)], 28.2 x 19 cm, ¾ brown calf ruled in gilt, brown marbled boards, nonpareil marbled endpapers, raised and ruled in gilt bands, floral devices and title lettering to spine. AEG. Foxing to flyleaves, tips of corners just a very little rubbed as are the glazed marbled paper boards; endpapers foxed; very occasional light scattered foxing of text.
Provenance: (1) Armorial bookplate (Ex Libris Sir John Whittaker Ellis, 1st Baronet (1829 – 1912), Lord Mayor of London 1881; (2) Bookplate Ex Libris Robert Frederick Green) dated 1909.
Reference: L. Carteret (1927) pp. 203-207: the first edition, lacking the publisher's white pictorial wrappers. -
![George Cruikshank's table-book / edited by Gilbert Abbott à Beckett. – London: Punch office, 1845. – viii, 284 p., [12] leaves of plates : ill's.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2557.2020-5-500x500.jpeg)
Title: GEORGE CRUIKSHANK'S | TABLE-BOOK. | EDITED BY | GILBERT ABBOTT À BECKETT. | ILLUSTRATED BY GEORGE CRUIKSHANK. | LONDON : | PUBLISHED AT THE PUNCH OFFICE, 92, FLEET STREET ; | AND SOLD BY ALL BOOKSELLERS. | MDCCCXLV.|| Pagination: ffl [2 blanks] [i, ii - engaved t.p. w/guard, verso blank] [iii], iv - letterpress t.p., colophon] [v], vi - list of engravings on still and on wood, [vii] viii - contents [2 - blank, engraved frontispiece] [1] 2-284 [2 blanks] bfl; 12 full-page steel etchings and 116 woodcuts and glyphographs by G. Cruikshank. Binding: Hardcover, 4to, 24.4 x 17 cm, later full red morocco by Kelly and Sons with gilt and embossed designs to covers, designs, title and year lettering to spine, facsimile in gilt of Cruikshank's signature to front cover, gilt line to inner edges, top edge gilt, marbled endpapers. Armorial bookplate of Harold A. Wernher of Luton Hoo to front pastedown. Major-General Sir Harold Augustus Wernher (1893 – 1973) – British military officer. Originally bound in red cloth, this binding by Kelly and Sons (Packer, Maurice. Bookbinders of Victorian London. — London: British Library, 1991 page 84). Title without the bottom section with lettering, on top lacking the 'Price one shilling', № 1, Vol. 1. inscriptions. Catalogue raisonné: A. M. Cohn № 191, p. 66-67. -
Vol. 1 : Title : LES | RUES DE PARIS | PARIS ANCIEN ET MODERNE | ORIGINES, HISTOIRE | MONUMENTS, COSTUMES, MŒURS, CHRONIQUES ET TRADITIONS | OUVRAGE | RÉDIGÉ PAR L’ÉLITE DE LA LITTÉRATURE CONTEMPORAINE | SOUS LA DIRECTION DE | LOUIS LURINE | et illustré de 300 dessins exécutés par les artistes les plus distingués | TOME PREMIER | { publisher’s device «G.K.» in vignette} | PARIS | G. KUGELMANN, ÉDITEUR, 25 RUE JACOB | 1844 || Pagination: [4] [1] 2-396 [4], total number of pages 404, plus 21 wood-engraved plates, incl. frontispiece, extraneous to collation. Collation: 4to; π2 [1]4 2-504, total number of leaves 202, plus 21 leaves of plates. Vol. 2: Title: Same, “TOME SECOND”. Pagination: [4] [1] 2-411 [412] [4], total number of pages 420, plus 22 wood engraved plates, incl. frontispiece, extraneous to collation. Collation: 4to; π2, 1-524, total number of leaves 210, plus 22 leaves of plates. Binding: 27 x 17 cm, two volumes uniformly bound by the publisher in brown cloth, blind-stamped frame and gilt design (corners, coat of arms of Paris, lettering) to boards and spine, yellow endpapers. CONTRIBUTORS: Printer: Alfred Wittersheim (French, 1825 – 1881) Publisher: Georges Kugelmann (French, 1809 – 1882) Editor/Compiler: Louis Lurine (French, 1816 – 1860) Texts by: Briffault, Eugène (French, 1799 – 1854); Janin, Jules Gabriel (French, 1804 – 1874); Huart, Louis Adrien (French, 1813 – 1865); Burette, Théodose (French, 1804 – 1847); Beauvoir, Roger de (French, 1806 – 1866); Brot, Charles Alphonse (French, 1807 – 1895); Le Roux de Lincy, Antoine (French, 1806 – 1869); Achard, Louis Amédée Eugène (French, 1814 – 1875). Illustrated book, profusely illustrated with over 300 woodcuts by: Artists: Daumier, Honoré (French, 1808 – 1879); Gavarni , Paul [Chevalier, Hippolyte Guillaume Sulpice] (French, 1804 – 1866); Nanteuil, Célestin François (French, 1813 – 1873); Baron, Henri (French, 1816 – 1885); Beaumont, Édouard de (French, 1821 – 1888); David, Jules (French, 1808 – 1892); Marckl, Louis (French, b. 1807); Schlesinger, Heinrich [Henri-Guillaume] (German-French, 1814 – 1893); Collignon, François Jules (French, d. 1850); Godefroy, Félix (French, 1765 – 1848); Lemercier, Charles Nicolas (French, 1797 – 1859); Loutrel, Victor Jean-Baptiste (French, 1821 – 1908); May, Edouard (French, c. 1807 – 1881); Moraine, Louis-Pierre René de (French, 1816 – 1864); Moynet, Jean Pierre (French, 1819 – 1876); Rossigneux, Charles (French, 1818 – 1907). Engravers: Bara, J. (French, b. c. 1812); Brugnot (French, fl.c. 1834 – 1873); Castan, André (French, 19th century); Budziłowicz, Ignacy (Polish-French, 1805 – 1863); Chevauchet (French, fl. 1837 – 1850); Pégard (French, 19th century); Czechowicz, A. (Polish-French, fl. 1840 – 1850); Debraine, T. Etienne (French, 19th century); Deschamps, M. (French, 19th century); Fauchery, Jean-Claude Auguste (French, 1798 – 1843); Ghouy, de (French, fl. mid-19th century); Montigneul, Émile (French, fl. 1840 – 1850); Joret, J. (French, 19th century); Fity, A. (French, 19th century); Guillaumot, Eugène (French, 1813 – 1869); Halley-Hiback (French, 19th century); Lacoste père et fils (French, fl. 1830s – 1860s); Lenepveu (French, 19th century); Lesestre, Jean Théophile Gustave (French, 1815 – 1873); Pannemaker, Adolphe François (Belgian-French, 1822 – 1900); Piaud, Antoine Alphée (French, 1813 – 1867); Pisan, Héliodore Joseph (French, 1822 – 1890); Pollet A. (French, 1840 – 1860); Pouget, Jean-Achille (French, fl. 1844 – 1877); Porret, Henri Désiré (French, 1800 – 1867); Pontenier, Auguste [Etienne, François] (French, 1820 – 1888); Rose, Alphonse Antoine (French, fl. 1840 – 1860); Timms, J. (English-French, fl. c. 1839 – 1865); Verdeil, Pierre (French, 1812 – 1874); Vien, Alphonse Jean-Baptiste (French, b. 1814). -
London: Published under the superintendence of the Society for the Diffusion of Useful Knowledge; Charles Knight & Co., no. 22 Ludgate Street. Dimensions: Sheet: 34 x 41.8 cm: Image: 28.7 x 38.3 cm. J. & C. Walker, Society for the Diffusion of Useful Knowledge Charles Knight & Co.; Charles Knight (British, 1791 – 1873) – publisher. J & C Walker (British firm, fl. 1820 – 1895) Walker, John (British, 1787 – 1873) Walker, Alexander (British, 1797? – 1870) Walker, Charles (British, 1799? – 1872) Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846) -
Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Block carver: Koizumi Minokichi [小泉巳の吉] (Japanese, 1833 – 1906); seal: Hori Mino [彫已の] (Gordon Friese № 38). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: (Purple of Edo // Purple of the Bay Capital) [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Segawa Kikunojō V. Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802 – 1832); other names: Segawa Tamon I. One of the series of Kunisada's fan prints in this collection: -
Two volumes in-12, 16.8 x 11.5 cm each, uniformly bound in ¾ red crushed morocco over marbled boards, spine with raised bands and gilt lettering, marbled endpapers, text printed on laid paper, 6 plates (3 in each vol.) on India paper pasted in on thick laid paper leaves. This edition seems similar to Nordmann I 203 but without Félicien Rops' frontispiece and plates, replaced by unsigned etchings attributed to Gustave Staal. Title-page (red and black): LE RICHE DE LA POPELINIÈRE | – | TABLEAUX | DES | MŒURS DU TEMPS | DANS LES DIFFÉRENTS AGES DE LA VIE | – | NOTICE DE | CHARLES MONSELET | – | TOME PREMIER (SECOND) | {fleuron} | PARIS | IMPRIMERIE DES CI-DEVANT FERMIERS GÉNÉRAUX | – | M D CCC L XVII || Vol. 1: π2 (h.t., t.p.) a4 (Notice), 1-1312 151 (Table); total 91 leaves plus three leaves of plates. Pagination: [4] [i] ii-vii [viii] [3] 4-168 [2]; total 182 pp, ils. facing pp. 59, 78, and 94. Vol. 2: π2 (h.t., t.p.), 1-1312, 152; total 88 leaves plus three leaves of plates. Pagination: [4] [1] 2-170 [2]; total 176 pp, ils. facing pp. 74, 78, and 145. Catalogue raisonné: Dutel I: A-1044 — without Félicien Rops ‘ornementations’, but with ‘6 gravures de 1865’. Dutel suggests that the edition was performed by A. Poulet-Malassis, Briard or Lécrivain. Catalogue Poulet-Malassis & ses amis description: № 43. LE RICHE DE LA POPELINIÈRE. Tableaux des mœurs du temps dans les diérents âges de la vie, tome premier (— second). Notice de M. Charles Monselet. Imprimerie des ci-devant fermiers généraux, Paris, M D CCC LXVII [A. Poulet-Malassis, 1867]. Exemplaire sans le frontispice de Félicien Rops mais bien complet des 6 figures de Staal, justification qui illustre les aléas de la confection des publications clandestines. D’une part, c’est une autre édition qui est décrite par Launay. L’exemplaire vendu chez Maître Loudmer avait 6 figures, comme ici. Cluzel a vu un “front. et 4 vignettes de Rops plus cinq figures libres (par Staal)”, Simonson a vu 5 figures de Rops, etc., etc. Il y a 3 bandeaux et 3 culs-de-lampe de Rops qui ont été fréquemment utilisés par d’autres éditeurs pour d’autres titres pendant toute la seconde moitié du xixe siècle. La Léonina présente une fiche détaillée sur 4 pages. 3 bandeaux et 3 culs-de-lampe gravés sur bois de Rops. Bibliographie : Pia 1389, Launay 327, Gay 6-308, Pey 122 (1800 frs avec 5 figures), PC 503 et 504, Lemonnyer 3-1173, LL 66, Leonina 81, Nordmann 1-203, Dutel A-1043. Contributors: Alexandre Jean Joseph Le Riche de La Popelinière (French, 1693 – 1762) – author. Charles Monselet (French, 1825 – 1888) – author (foreword). Pierre-Gustave-Eugène Staal (French, 1817 – 1882) – artist. Auguste Poulet-Malassis (French, 1825 – 1878) – publisher. -
Hand-coloured woodcut on wove paper, 265 x 378 mm; black ink stamp “5051 1” to reverse. Top left: "ARMÉE FRANCAISE. ARTILLERIE"; right: (gothic font) "Französische Armee Artillerie" — "№ 107". Below left: "Fabrique d’Images de Fr. Wentzel à Wissembeurg. Bas-Rhin." — "Déposé" —, centre: "Bilderfabrit von Fr. Wentzel in Weissenburg", right: "Fr. Wentzel, Éditeur, rue St. Jacques, 65, Paris". Bottom: "Trompette | Trompeter" — "Capitaine | Gauptmann" — "Porte-Étendard | Fahnenträger" — "Artilleur | Artillerist" — "Cantinière | Marketenderin". Jean Frédéric Wentzel (French, 1807 – 1869) – publisher/printer. -
Actor Ichikawa Danjuro VII as Soga Goro Tokimune (one of the Soga brothers). Ichikawa Ebizô V held the name of Ichikawa Danjûrô VII from the 11th lunar month of 1800 to the 2nd lunar month of 1832. Artist: Utagawa Kunisada (Toyokuni III) [歌川 国貞] (Japanese, 1786 – 1865) Publisher: Uemura Yohei (Japanese, 1750 – 1832). Date: 1830 Size: Vertical ōban Signatures/Marks: Gototei Kunisada ga. Publisher's seal: Uemura Yohei. Censor's seal: Kiwame -
Vol. 1: A | BIBLIOGRAPHICAL | Antiquarian and Picturesque | TOUR | IN THE | NORTHERN COUNTIES OF ENGLAND | AND IN | SCOTLAND. | BY THE REVEREND | THOMAS FROGNALL DIBDIN, D.D. | CHAPLAIN IN ORDINARY TO HER MAJESTY. | VOL. I. |{device} motto: DEI OMNIA PLENA | LONDON: | PRINTED FOR THE AUTHOR BY C. RICHARDS, ST. MARTIN’S LANE : | AND SOLD BY JAMES BOHN, 12 KING WILLIAM STREET, STRAND, LONDON : | LAING AND FORBES, EDINBURGH : JOHN SMITH AND SON, | GLASGOW : AND E. CHARNLEY, NEWCASTLE. | MDCCCXXXVIII.|| Pagination: ffl, frontispiece by W. Douglas after T. M. Richardson, [i-ii] t.p. / blank; [iii-iv] - dedication to Frances Mary Richardson Currer (British, 1785 – 1861) / blank, [v] vi-xv – preface, [i] ii-xxx – supplement & index, [2] – corrections / colophon, [2] list of plates, [2] – contents, [1] 2-436, bfl; 11 plates extraneous to collation (incl. frontis.), lacking one plate (facing p. 213. “Thos. Bridges…”), in-text woodcut vignettes, head- and tailpieces. Collation: 8vo; π8 a-b8 [c2] B-Z8 2A-2E8 2F2. Vol. 2: Similar title but "VOL. II." Pagination: ffl, frontispiece portrait of Hugh Stewart, Aged 84 by Robert Bell after Alison (nothing known); [2] – t.p. / blank, [2] – contents / cont., [437-8] f.t. / blank [439] 440-1090, bfl; 453/4 misprinted 449/50; lacking list of subscribers. Collation: 8vo; π2 [2F3-2F6] 2G-2Z8 3A-3Z8. Binding: By J. Leighton, Brewer Street. Later half dark brown morocco over marbled boards, raised bands with gilt fillets, gilt titling and fillets in compartments, all edges gilt, marbled endpapers. Edition: 1st edition of Dibdin’s last major work and the only edition of this title. Size: 24.5 x 15.5 cm Provenance: Lord Ronald Gower (British, 1845 – 1916); Frank Hird (British, 1873 – 1937). Catalogue raisonné: Jackson 89; Windle & Pippin A65, pp. 179–188 [LIB-2669.2021]. Artists: Abraham, [I.] Frederic Henry (British, 1790 – 1845) Carmichael, James John Wilson (British, 1800 – 1868) Geikie, Walter (British, 1795 – 1837) Harraden, Richard Bankes (British, 1778 – 1862) Hill, David Octavius (British, 1802 –1870) McLea, John Watson (British, fl.1832-1861) Nixon, James Henry (British, b. c. 1808) Reynolds, Sir Joshua (British, 1723 – 1792) Richardson, Thomas Miles (British, 1784 – 1848) Scott, J. (British, fl. 19th c.) Wilkinson, T. M. (British, fl. 19th c.) Engravers: Aikman, Alison [spouse of George Aikman?] (British, 1788 – 1865) Bell, Robert Charles (British, 1806 – 1872) Byfield, Mary (British, 1794/5 – 1871) Douglas, William (British, 1780 – 1832) Harraden, F. (British, fl. 1838) Horsburgh, John (British, 1791 –1869) Johnstone, John (British, fl. 1835 – ) Leith & Smith, Lithogrs (Edinburgh) Lizars, William Home (British, 1788 – 1859) Miller, William (British, 1796 – 1882) Penny, William (British, fl. 19th c.) Prior, Thomas Abiel (British, 1809 – 1886) Robinson, H. (British, fl. 19th c.) Smith, Charles John (British, 1803 – 1838) Thomson, James (British, 1788 – 1850) -
A young woman playing a four-string musical instrument with a bow (kokyū). Series: Assortments of Beauties Accomplishments [美人芸盡] (Bijin gei-zukushi). Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kochoro Kunisada ga [香蝶楼 国貞画] in a red double gourd cartouche. Publisher: Ibaya Kyūbei [伊場屋久兵衛] (Japanese, 1804 – 1851); seal: Hanmoto, Kyū [板元久] (Marks 19-040 | 126e) Date seal: Bunsei 12 (1829). Censors' seal: Kiwame. Size: Fan print (uchiwa-e). -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga [国貞画] in a red double-gourd cartouche Publisher: Unknown (no seal). Date: c. 1832 Izzard: "... red cloth decorated with the characters Yauan, one of Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859) poetry names, and the name of his residence in Fukagawa. The absence of publisher's emblem and censorship seals may indicate that this was a privately issued print, not for public use". Ref.: [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 112-3, fig. 32). Size: Fan print (aiban uchiwa-e); 235 x 295 mm. -
Series: Pictures Associated with the Iroha Syllabary [伊呂波画合]. Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Signed: Ichiyûsai Kuniyoshi giga [一勇斎 國芳戯画] (Playfully drawn by Ichiyūsai Kuniyoshi) in a red double-gourd cartouche with a kiri-mon seal beneath. Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. 1823 – c. 1864); seal [辻] (Marks 16-029 | 143a). Single nanushi censor seal: Mura [村] = Murata Sahei [村田佐右衛] (VI/1842 – V/1846). Media: Fan print (uchiwa-e, 団扇絵), 231 x 296 mm. Theme: The Treasury of Loyal Retainers [仮名手本忠臣蔵] (Kanadehon Chūshingura) – an 11-act puppet play composed in 1748, based on a historical event. "Most historians now agree that there were forty-seven rōnin of Ako who attacked and killed Kira Yoshinaka (吉良 義央, 1641 – 1703) in Edo in the twelfth month of 1702, twenty-two months after their lord Asano Naganori (浅野 長矩, 1667 – 1701) had been put to death for his own failed attempt on Kira’s life". [Henry D. SMITH II. The Trouble with Terasaka: The Forty-Seventh Rōnin and the Chūshingura Imagination / Japan Review, 2004, 16:3-65]. The reader shall remember that the fictional, romantic version of the Akō incident [赤穂事件] (Akō jiken) may not (and most probably does not) reflect the historical truth of events. Uncut fan print depicting a beautiful young woman covering another woman's mouth with a blue striped cloth, possibly an obi. The picture on the wall represents the scene from the final act of The Treasury of Loyal Retainers (Kanadehon Chūshingura, Act 11) when 47 loyal retainers (rōnin) of the late lord En'ya Hangan came to the house of Kō no Moronao in order to avenge their dead master. The leader of 47 rōnin, Ōboshi Yuranosuke, divided his accomplices into several groups which attacked the Moronao mansion from different directions. To coordinate the attack and keep communication among the groups, the rōnin were signing the first syllables of their names in the hiragana syllabary. There are two major types of the ordering of the hiragana syllabary, the Gojūon one and the Iroha order (pangram poem), the latter being used here. The number of avengers exactly matches the 47 letters of that syllabary. The group entering Moronao's house from the front gate was 'chi-ri-nu-ru-wo-wa-ka'. Yoshida Sadaemon Kanesada [葦田貞右衛門兼貞] (1675 – 1703) depicted on this fan print belongs to this group. The character on the lantern hanging from Yoshida's spear reads Chū [忠] – for Chūshingura. Alternating black and white triangles on the picture frame allude to the 'signature' 47 ronin's uniform. This motif is usually described as a zigzag pattern [雁木模様] (gangi moyō), a mountain-shaped pattern [山形模様] (yamagata moyō), or a mountain road [山道] (yamamichi). The rōnin were allegedly wearing this uniform in imitation of firefighters. The government allowed the firefighters alone to gather in large groups and carry equipment akin to that of the military. Such equipment was necessary for firemen to tear down the burning buildings to stop the flames. The design can be seen in Kunimaru's fan print [SVJP-0233.2018] in this collection.Fighting Moronao's guards, the 47 rōnin entered the mansion and searched for their enemy but in vain. Finally, Yazama Jujiro Motooki [矢間重次郎元興] found the villain in the charcoal chamber and called his friends. This is the exact moment we see in the picture on the wall: Yoshida entering the charcoal chamber with a spear in his hand amid falling baskets and charcoal. Kō no Moronao was brought to justice and beheaded; his head was offered before the memorial tablet of En'ya Hangan to appease his spirit. After that, Ōboshi Yuranosuke and his 46 friends committed seppuku. They were buried at Sengakuji (泉岳寺) – a small temple near Shinagawa in Edo (Tokyo).
Utagawa Kunimaru. Chūshingura, Act 11.
Another fan print from the same series can be found at Kuniyoshi Project:
The same subject is portrayed by Kuniyoshi in the series Mirror of the True Loyalty of the Faithful Retainers [誠忠義臣鏡] (Seichû gishin kagami), publisher: Kagiya Hanjirô, c. 1851 (Kuniyoshi Project) – Yoshida Sadaemon Kanesada (葦田貞右衛門兼貞) raising his sword amid falling baskets and charcoal:
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Hardcover volume, 20.4 x 13.1 cm, quarter contemporary calf over modern brown marbled board, printed on laid paper, pp.: [i-v] vi-xii, [13] 14-259 [260] blank; collated 8vo: 1-168 172; total 130 leaves. Title-page: DES | SOCIÉTÉS SECRÈTES | EN ALLEMAGNE, | ET EN D'AUTRES CONTREES; | DE LA SECTE DES ILLUMINÉS DU TRIBUNAL | SECRET, DE L'ASSASSINAT DE KOTZEBUE, ETC. | {two lines in rules} | PARIS, | LIBRAIRIE DE GIDE, FILS, | RUE SAINT–MARC–FEYDEAU, No. 20. | 1819. || Contributors: Vincent Lombard de Langres (French, 1765 – 1830) – author. Théophile-Étienne Gide (French, 1767 – 1837) – publisher. Seller's description: [LOMBARD DE LANGRES (Vincent)]. Des Sociétés secrètes en Allemagne, et en d'autres contrées. Paris, Gide fils, 1819 ; in 8°, demi basane fauve, dos lisse orné. Reliure de l'époque. Edition originale rare. L'auteur, révolutionnaire, fut ami de Danton et de Barras. Dans son ouvrage anti maçonnique, il dévoile les doctrines des sociétés secrètes, leurs principes, leur influence dans la société. Caillet 6770. -
Hand-coloured woodcut poster on wove paper, 622 x 417 mm; black ink stamp “4859” to reverse, horizontal centrefold. In a double frame, top: LOUIS-NAPOLÉON BONAPARTE, | REPRÉSENTANT DU PEUPLE, | Président de la République française. Text under the image ; bottom left: (Déposé.— Propriété de l’Éditeur.); right: Fabrique de PELLERIN, Imprimeur-Libraire, à ÉPINAL. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Uncut fan print (uchiwa-e) with the design of kabuki actor Nakamura Utaemon IV who held the name of Nakamura Shikan II from the 11th lunar month of 1825 to the 12th lunar month of 1835, dressed in a checkered kimono, holding a pipe and surrounded by flying fireflies. Character: Nakamura Utaemon IV [中村歌右衛門] (Japanese, 1796 – 1852); other names: Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō. Series title: Catching fireflies in the floating world [浮世蛍狩] (Ukiyo hotarugari). Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Toyokuni III (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香蝶楼国貞画] in a red cartouche. Publisher: Ibaya Kyubei [伊場屋 久兵衛] (Japanese, fl. 1804 – 1851); seal: modified Marks 19-009 | 126d. Censor's seal: Kiwame Date seal: Tenpō 2 (1831). Ref: Kunisada.de, N58. A look-alike yearlier Kunisada's design can be found at kunisada.de, ref. # N120-Z0172-410:
Actor Onoe Baikō, artist Kunisada, publisher Ibaya Kyūbei, c. 1820.
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Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal: Hori Take [彫竹]. Publisher: Iseya Magobei [伊勢屋孫兵衛] (Japanese, fl. c. 1794 – 1868); seal: Hanmoto, Masu [板元, 益] (Marks 19-039 | 150d). Date-aratame seal: Ansei 2 (1855). Title: Time in Fukagawa, Iyo Province (Fukagawa Iyo setsu). Ref.: [LIB-3008.2022] Andreas Marks. Japanese woodblock prints: Artists, publishers and masterworks, 1680 – 1900. — Tuttle Publishing, 2010; p. 221. –> 1855 Kunisada. "Iyo Province-time at Fukagawa" (Fukagawa Iyo setsu). Fan print. Japan Ukiyo-e Museum, Matsumoto. -
Lithography on paper by Charles Fichot (French, 1817 – 1903), published in a supplement to the Illustrated London News of July 6, 1867.
The construction on the foreground is the International Exposition of 1867 (Exposition universelle d'art et d'industrie de 1867). Dimensions: Sheet: 130 x 58 cm; Image: 118 x 43 cm. -
Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Publisher: British Museum provides for the title as Enkyoku-zoroi [艶曲揃] (Set of Voluptuous Melodies) and the publisher as Sanpei. Indeed, 三平 (Sanpei) was a wholesale fan shop at the end of the Edo period. However, Andreas Marks identifies the publisher’s seal as 三平 Mihei = Mikawaya Heiroku (1848-56), a member of the Fan Producing Guild (AM 11-016|325a). Block carver: Hori Take [彫竹]Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia (kiri mon).
Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month).
Size: Uchiwa-e (untrimmed fan print) 229 x 294 mm.
Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338; sold together with 10 other fan prints for $27,500. Before: Christie's, New York, 1994, lot 145 ($4,830). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 361. Ref: Israel Goldman, Catalogue 2018, № 41: "Utagawa Kuniyoshi (1797-1861) A Woman on a Terrace Dancing with a Fan. From the series Enkyoku zoroi (Collection of Charming Music). 1853. Fan print. 22.9 x 29.4 cm. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1994, lot 145 ($4,830); The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338. Fine impress." Known prints in this series:
SVJP-0251.2018
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Hardcover, 28 x 20 cm, quarter sheepskin over marbled boards, marbled endpapers, gilt lettering to flat spine with gilt fillet bands, clipping pasted to front fep verso. Title-page: GRANIER DE CASSAGNAC — PAUL DE CASSAGNAC | ~ | HISTOIRE POPULAIRE | ILLUSTRÉE | DE | L'EMPEREUR NAPOLEON III | TOME I (II) | {publisher’s device} | PARIS | E. LACHAUD ET Cie, LIBRAIRES-ÉDITEURS | 4, PLACE DU THÉATRE-FRANÇAIS, 4 | – | Tous droits réservés || Collation: (v.1) π2 [1]-504, (v.2) π2 1-494; total 400 leaves plus albumen photograph pasted to frontispiece and 96 full-page woodcuts within collation. Pagination: [4] [1] 2-398 [2], [4] [1] 2-390 [2], ils.; total 800 pp. Contributors: Bernard Adolphe Granier de Cassagnac (French, 1806 – 1880) – father. Paul Adolphe Marie Prosper Granier de Cassagnac (French, 1843 – 1904) – son. -
Hand-coloured woodcut on wove paper, 270 x 380 mm; attached to the sheet 303 x 442 mm with pencil ms inscription to the top left corner on the reverse: “Haye le 2-3-75”. Top: "MORT DE L'EX-EMPEREUR NAPOLÉON III (le 9 janvier 1873, à Chislehurts [sic], Angleterre)." Bottom right: "Imp. Lith. CH. PINOT, éditeur. Épinal (Dépose)". Bottom left corner of the image sheet torn and manually restored. Text partially lost, starting with « d’une opération pour l’extraction de la pierre, maladie dont’ il souffrait depuis plu-… ». See Chislehurst. Charles-François Pinot (French, 1817 – 1879) – publisher/printer. -
Engraved title page: ILLUSTRATION | OF | TIME. | GEORGE CRUIKSHANK. | "THERE IS A TIME FOR ALL THINGS". | TEMPUS EDAX RERUM. | LONDON | Published May 1st 1827 by the Artist - 22 Myddelton Terrace Pentonville. - Sold by Js. Robins & Co. Ivy Lane Paternoster Row.
Oblong folio, 33.5 x 44 cm. Engraved vignette title page and six not-coloured engraved plates with multiple images showing thirty-five humorous scenes.
First edition, first issue. Uncoloured. Pristine condition.
Half-leather bound in marbled cardboard and red morocco and gild lettering and arabesque. Frontispiece and 6 plates with protective tissues.
Content:1. Time-Called & Time-Come (five sketches)
2. Behind Time (seven sketches)
3. Time Thrown Away (six sketches)
4. Hard Times [&] Term Time (five sketches)
5. Time Badly Employed (five sketches)
6. Christmas Time (seven sketches)
British Museum № 1978,U.3026.1. BM description: "Frontispiece, the title on a background of symmetrical but dilapidated and grass-grown masonry. On the summit stands a little laughing gnome, with a wide hat and a body formed of an hour-glass; Inset is an oval bordered by a serpent with its tail in its mouth (emblem of eternity), in which is an aged and all-devouring Time (bald except for a forelock), seated behind a table whose surface is the base of the design. He puts to his mouth a fork on which is speared an elephant with a castle on its back containing tiny figures with spears. In his r. hand is a spoon containing a country church. His table is covered with dishes, and at his r. hand is a sickle. The central and biggest dish is heaped with a jumble of tiny objects: crown, table, chair, wheelbarrow, picture; round the room sit little figures: a soldier, parson, lady and child, &c. The ten other dishes contain: an antique glass coach with horses and footmen; an overladen camel beside a palm-tree; ruins of a castle; a farmhouse; a shepherd and sheep; a dismantled cannon and balls, cattle, a man-of-war in full sail; a ruinous Gothic cathedral; a clump of trees (the last two are dominated by a large decanter). Below Time are two (Egyptian) pyramids. Above: 'There Is A Time For All Things'; below: 'Tempus Edax Rerum'. 1 May 1827. Etching."Bibliography:- Reid, G W, A descriptive catalogue of the works of George Cruikshank, London, 1871.
- Stephens, Frederic George; George, Mary Dorothy, Catalogue of Political and Personal Satires in the Department of Prints and Drawings in the British Museum, 11 vols, London, BMP, 1870.
- Cohn, A M, George Cruikshank, catalogue raisonné, London, 1924.
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![George Cruikshank's omnibus / edited by Laman Blanchard. – London : Tilt and Bogue, 1842. – [2], vi, [2], [2] 300 p., [22] leaves of plates : ill's.](https://varshavskycollection.com/wp-content/uploads/2021/02/LIB-2558.2020-6-500x500.jpeg)
Title: GEORGE CRUIKSHANK'S | OMNIBUS. | ILLUSTRATED WITH ONE HUNDRED ENGRAVINGS ON STEEL | AND WOOD. | "De omnibus rebus et quibusdam aliis." | EDITED BY LAMAN BLANCHARD, ESQ. | LONDON : | TILT AND BOGUE, FLEET STREET. | MDCCCXLII. Pagination: ffl, [2] – blanks [i, ii] – blank / engraved t.p. w/guard, [iii, iv] – t.p., colophon] [v], vi – contents, [vii, viii] – h.t. / blank, [ix] – list of etchings on steel, [x] – list of wood-cuts, [2] – blank, frontis. engraves portrait of G. Cruikshank; [1] 2-300 [2] – blanks, bfl; 22 full-page steel engravings (three not by Cruikshank) and 78 woodcuts. As per A. M. Cohn: i-ii+i-viii+1-2+1-300. Binding: 24 x 14 cm, later full red morocco by Kelly and Sons with gilt and embossed designs to covers, designs, title and year lettering to spine, facsimile in gilt of Cruikshank's signature to front cover, gilt line to inner edges, top edge gilt, marbled endpapers. Armorial bookplate of Harold A. Wernher of Luton Hoo to front pastedown. Major-General Sir Harold Augustus Wernher (1893 – 1973) – British military officer. Originally bound in green, then red cloth, this binding by Kelly and Sons (Packer, Maurice. Bookbinders of Victorian London. London: British Library, 1991 page 84). A. M. Cohn № 190, p. 65-66. Motto translation: (About all things and something more besides). -
An uncut fan print shows a young woman holding a basket on a landscape background with hills and pines under a rising sun. Haruo Shirane: "Under the luni-solar calendar, the New Year coincided with the beginning of spring, making it the most important observance of the year for the aristocracy. In the Heian period, New Year ceremonies extended from New Year’s Day (Ganjitsu) to the Day of the Rat (Nenohi), which usually fell on the seventh day of the First Month, when courtiers went out to the fields (no), pulled up small pines, and gathered new herbs (wakana) as a prayer for long life. This ritual gradually spread to the provinces and to commoners, eventually resulting in the New Year practice of the gate pine (kadomatsu), in which a pair of small pines was placed at the gate of a house. A popular Heian-period painting topic representing the First Month was “prayers on the Day of the Rat” (Nenohi no asobi), which depicted the auspicious scene of pulling up small pines in a spring field. Both young herbs and gathering young herbs, particularly at Kasuga Field, became major poetic topics for the First Month, appearing in both the spring and celebration (ga) books of the Kokinshū (Collection of Japanese Poems Old and New, ca. 905). By the Kamakura period, the observance of the Day of the Rat had been abandoned at the imperial court, but the custom of gathering and eating young greens continued as the annual ceremony known as the Seven Grasses (Nanakusa). Note: The Heian-period ritual of pulling up the roots of small pines (komatsu ) on the first Day of the Rat derives from the homonyms ne (rat) and ne (root). Pulling up roots was auspicious, since it implied lengthening the year. The rising sun (hinode) was considered an auspicious sight, particularly at the beginning of the year". [Haruo Shirane, Japan and the Culture of the Four Seasons. Nature, Literature, and the Arts. — Columbia University, NY, 2012]. Title: Gathering of the young herbs on the Day of the Rat [子の日乃若菜] (Nenohi no wakana). Series: Three elegant sources of light [風流三光の内] (fūryū sankō no uchi); meaning the sun, the moon and the stars). Artist: Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher’s seal: Izuzen (Marks: seal 06-029 | U103b) Date and double nanushi censor seals: Mera and Watanabe, Kaei 6 (1853). A similar theme can be found in Kunisadai's triptych published in about 1844 (HARA SHOBO):
豊国三代「豊歳子日若菜摘ノ図」
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Above the frame: PLAN DE PARIS EN MDCCCLIII. Below the frame: Gravé par F. DELAMARE […] PARIS. TYP. DE FIRMIN DIDOT FRÈRES, 56, RUE JACOB. […] PANICONOGRAPHIE DE GILLOT. Q. ST. MICHEL 23. Dimensions: Sheet: 37 x 52.5 cm: Image: 33 x 50 cm. Technique: Photozincography Contributors: Ferdinand Théodore Delamare (French, fl. 1850 – 1889) – engraver. Firmin Didot Frères ; Firmin Didot (French, 1764 – 1836) – publisher. Firmin Gillot (French, 1819 – 1872) – printer. -
Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: (Purple of Edo // Purple of the Bay Capital) [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is Ichikawa Danjūrō VIII. Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizō VI, Ichikawa Shinnosuke II. One of the series of Kunisada’s fan prints in this collection: -
Two volumes in-12, 16.7 x 11.5 x 3.5 cm each, uniformly bound in quarter crimson morocco over marbled boards, spine with raised bands, gilt lettering, marbled endpapers, top margin gilt; text printed on laid paper, plates – on India paper: loose frontispiece by Félix Lukkow after Félicien Rops with tissue guard and 4 loose engraved plates by Félix Lukkow after Sigmund Freudenberger, in each volume. This edition is a reprint of an earlier publication: ANDRÉA DE NERCIAT, André-Robert (1739 - 1800). Les Aphrodites ou Fragments thali-priapiques pour servir à l'histoire du plaisir. Numéro Un et deux [Numéro trois et quatre [...] sept et huit]. 1793-1864. [Bruxelles : Briard pour Poulet-Malassis, 1864] with plated recarved by Félix Lukkow. Title-page: LES | APHRODITES | OU | FRAGMENTS THALI-PRIAPIQUES | POUR SERVIR A | L’HISTOIRE DU PLAISIR | — | Priape, soutiens mon hàleine… | Piron, Ode | — | Tome premier (second). | {publisher’s device} | A LAMPSAQUE | – | 1793 || Limitation: Edition is limited to 150 copies of which 130 on papier vergé, 5 on papier album jaune, 10 copies in-8o on large papier fort de Hollande, and one unique copy on peau de vélin. The number of this copy is left blank in both volumes. Vol. 1: π4 (h.t./limit., t.p./table, Éclaircissements historiques par V. M. D.), 1-2712 2910; total 182 leaves plus 5 leaves of plates, incl. frontispiece. Pagination: [1-5] 6-364, ils. V. M. D. stands for Vital Désiré Maximilien [Puissant]. Vol. 2: π2 (h.t., t.p.), 1-2912, 3110; total 192 leaves plus 5 leaves of plates, incl. frontispiece. Pagination: [1-5] 6-384, ils. Catalogue raisonné: Dutel I: A-95. Catalogue Poulet-Malassis & ses amis description: № 67. André-Robert ANDRÉA DE NERCIAT - [Félix LUKKOW]. Les Aphrodites, ou fragments thali-priapiques pour servir à l’histoire du plaisir. Tome premier (— second). A Lampsaque, 1793 [Vital Puissant, vers 1872]. 2 volumes in-12 de 364 et 384 pages, demi-maroquin rouge, dos à nerfs, tête dorée, non rogné (reliure de l’époque). Illustré de 2 frontispices et 8 planches volantes, par Félix Lukkow, d’après Félicien Rops pour les frontispices et Freundeberg pour les figures. Tirage limité à 151 ex. Contributors: André-Robert Andréa de Nerciat (French, 1739 – 1800) – author. Sigmund Freudenberger (Swiss, 1745 – 1801) – artist. Félicien Rops (Belgian, 1833 – 1898) – artist. Félix Lukkow (French, fl. c. 1870 – 1875) – engraver. -
Hand-coloured lithography on wove paper, 250 x 332 mm; black ink stamp “5035” to reverse. Under the frame left: "Paris, chez Riboni, éd. r. Galande, 51"; right: "Paris, lith. Bulla, Pl. Maubert, 26". Below: "BOMBARDEMENT DE SEBASTOPOL. — THE BOMBARDMENT OF SÉBASTOPOLE". Text to bottom. Printers/publishers: Antoine Bulla (fl. 1815 – 1877), François Bulla (fl. c. 1814 – 1855). -
Artist: Horst Graebner positively attributes the drawing to Utagawa Kunisada II [歌川国貞] Japanese, 1823 – 1880) a.k.a. Toyokuni IV, though Israel Goldman attributes it to Utagawa Kunisada [歌川 国貞] (Japanese, 1786 – 1865) a.k.a. Utagawa Toyokuni III. Title: Geisha with a watch / Preparatory drawing for a fan print. Media/Technique: Ink and colour on paper. Signed: Toyokuni hitsu [豊国筆]. -
A suite of 12 etchings 160 x 118 mm each, in the first state, pasted on paper, 2 per sheet, with a cover (250 x 210 mm).0. Cover. Les femmes de Paris pendant le siège./R.Martial/1871.1. Lorsqu'à l'approche de l'ennemi on demandait l'éloignement des bouches inutiles [...] 2. L'Ennemi ! 3. No inscription 4. Quête pour les veuves. 5. Concert et quête pour les enfants blessés, malades, infirmes. 6. Au bastion/Et celles non moins précieuses qui dirigeaient ces ventes [...] 7. Vente pour les orphelins de la guerre. 8. No inscription 9. Une ration, bouillie romaine et Vin/Cantine municipale[...] 10. No inscription 11. No inscription 12. Les effets de cette union patriotique des femmes sont connus.[...] -
Title-page: LA | CORRECTIONNELLE | PETITES CAUSES CÉLÈBRES | ÉTUDES DE MŒURS POPULAIRES | Au Dix-Neuvième Siècle | ACCOMPAGNÉES DE CENT DESSINS | PAR GAVARNI | {woodcut vignette} | PARIS | Chez Martinon, rue du Coq-Saint-Honoré, 4 | 1840 || Collation: 2o, π3 (t.p. (wrapper?), h.t., t.p.), 1-1012; 205 leaves total, of them 100 plates, lithographs by Gavarni. Pagination: [6] [1] 2-403 [404], 410 pages total, incl. ils. (BnF calls for 426 pages total). Note: plate № 8 is numbered 9, plate № 9 numbered 8; p. 266 numbered 264, p. 268 numbered 266, p. 362 numbered 374, p. 364 numbered 376 (as called for by Carteret). Binding: “Romantique” publisher's quarter calf with gilt lettering and design elements over red paper boards, marbled endpapers. Complete 100 issues of the 4-page “La Correctionnelle” with a woodcut vignette after Gavarni on the 1st page of each issue, published between December 1839 and December 1840, and collected under one cover in 1840 by Martinon. Catalogue raisonné: Carteret (Le trésor, 1927): pp. 177-8; Brivois (1883): p.112. Both authors marked the edition as «rare in good condition". Gavarni [Sulpice Guillaume Chevalier] (French, 1804 – 1866) – artist. Amedée Gratiot et Cie. – printer, text. Coulon et Cie.– printer, lithographs. Coulon, Barthélémy Henry (French, fl. 1839 – ?) -
Title: Gotenyama [御殿山] – one of the most popular cherry blossom viewing spots; it is a hill at Shinagawa [品川], the second station on the Tōkaidō road [東海道], located on the shores of Edo Bay [江戸湾]. Series: A Collection of Mountains [山つくし] (Yama tsukushi) Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 12 January 1865). Block carver: Yokokawa Takejirō, seal: [彫竹] – Hori Take. Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Combined date seal and kiwame censor seal: Ansei 6 (1851). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Size: Fan print (uchiwa-e) 227 x 287 mm. -
Artist: Tsukioka Tanka [旦霞] (Japanese, fl. c. 1830s – 1840s). Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); seal: Enmata. Title: Picture of Fuji, Tsukuba and Sumida River [富士筑波隅田川の圖] (フジ ツクバ スミダガワ ノ ズ | Fuji Tsukuba Sumidagawa no zu). Date seal 巳 + kiwame: Tenpō 4 (1833). Media: Fan print (uchiwa-e, 団扇絵), 235 x 302 mm, aizuri-e. Only four prints are known from this artist, all fans: (1) National Diet Library 2542868:
(2) Ritsumeikan University mai30_07:
(3) RISD Museum 34.334:
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Hardcover volume, 20.7 x 13.5 cm, modern half morocco over marbled boards, gilt lettering and ornament to spine, pp.: [i-vii] viii-xvi [17] 18-255 [256], collated 8vo: 1-168, 128 leaves. Title-page: HIÉROLOGIES | OU | DISCOURS | HISTORIQUES ET DOGMATIQUES | Sur les Superfétations | APPORTÉES A LA RÉVÉLATION DU CHRIST, | PRONONCÉS AU TEMPLE DES CHRÉTIENS PRIMITIFS, | DEPUIS LE 15 AOUT JUSQU’AU 1er DÉCEMBRE 1833, ET DEPUIS LE 2 FÉVRIER | JUSQU’AU 25 MAI 1834, | SUIVIS DU DISCOURS | SUR LES TROIS VERSIONS DE LA BIBLE, | PRONONCÉ LE 20 JUILLET 1834 ; | Par M. le C. Marie de Venise, | VICAIRE PRIMATIAL DE L’EGLISE DE France. | {1 line citation} | — | Paris. | AU BUREAU CENTRAL D’IMPRIMERIE ET DE LIBRAIRE, | Rue Saint-Marc, No 21; | ET AU TEMPLE DES CHRÉTIENS PRIMITIFS, | RUE ET COUR DAMIETTE, PRÈS LA PLACE DU KAIRE. | — | 1834 || Contributors : Félix Ragon (French, 1795 – 1872) – author. Seller's description: [RAGON (Félix) : Hiérologies ou Discours historiques et dogmatiques sur les Superfétations apportées à la révélation du Christ suivis du Discours sur les trois versions de la Bible. Paris, au Bureau central et au Temple des Chrétiens Primitifs, 1834 ; in 8°, demi-basane brune à coins. Reliure pastiche moderne. Edition originale extrêmement rare, dont le tirage est estimé à 50 ex.
