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Ten postcards 90 x 140 mm, text in yellow "ВСЕМIРНЫЙ ПОЧТОВЫЙ СОЮЗЪ. РОССIЯ. | UNION POSTALE UNIVERSELLE RUSSIE. | ОТКРЫТОЕ ПИСЬМО. — CARTE POSTALE. || On the reverse, a blue ink woodcut image is printed in the upper left corner, and a идгу штл inscription is in the bottom centre. Holding the postcard against the backlight reveals a hidden image of an indecent nature (erotic). The use of Latin characters "R" and "N" instead of Russian "Р" and "Н" suggests that the cards were produced in Europe, probably in France. Inscriptions: 1. ПЕRВЫЕ ДNИ; 2. ПОRА ЛЮБВИ; 3. ВЪ ЛЮДИ; 4. КЪ "СВОБОДNОМУ ИСКУССТВУ"; 5. "СВОБОДNЫЙ ТRУДЪ; 6. БЕЗЪ ГОRЯ И ПЕЧАЛИ; 7. NАЗАДЪ КЪ "СВОБОДNОЙ ЛЮБВИ"; 8. ВСЕ ЧТО ОСТАЛОСЬ!; 9. БЕЗЪ КRОВА И ПRИСТАNИЩА; 10. ИЗЪ ЗА ХЛѢБА. -
Softcover, 257 x 168 mm, publisher’s cream French flapped wrappers with red lettering to front in a beige double slipcase, printed on wove paper watermarked “Marais” in italic script; edges untrimmed; pp.: [8] [2] [1] 2-130 [131] [3]; collated 4to as 184, 72 leaves incl. those in the wrappers, plus 9 photomechanical stencil-coloured plates extraneous to collation and 9 b/w headpieces (in-text etchings) after anonymous artist. According to the seller and J.-P. Dutel: “In-8 of 130 pages... Illustrated with 10 full-page in colour and some headbands. Limited edition of 500 copies on vélin du Marais". Title-page (red and black): GUILLAUME APOLLINAIRE | LES | ONZE MILLE VERGES | OU | LES AMOURS D'UN HOSPODAR | BRUXELLES | 1942 || Limitation: Il a été tiré de cet ouvrage réservé uniquement aux souscripteurs particuliers 500 exemplaires tous sur vélin du marais. Exemplaire n° 147. Edition: The clandestine edition on vélin de Marais paper limited to 500 copies for subscribers only; this copy is № 147. Catalogue raisonné: Dutel III № 2109. In my copy, similarly to the one of STEVE M., it is only 9 colour plates, while Dutel sites 10. Author: Guillaume Apollinaire (French, 1880 – 1918). Micro photo of a colour plate:
Micro photo of an etching:
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Two volumes, 168 x 106 mm each, uniformly bound in faux mottled calf ruled in gilt, marbled endpapers. Vol. 1: 3 blank leaves of wove paper, 3 blank leaves of laid paper, half-title/blank, blank/frontispiece, ‘engraved’ t.p./blank, both printed on laid paper watermarked “ARCHES A LA | MAIN”; ‘letterpress’ t.p.,/blank, pp.: [1] 2-115 [116 blank], 3 blank leaves of laid paper, 3 blank leaves of wove paper; collated 12mo: π2 A-I6 K4; total 60 leaves plus 16 ‘engraved’ plates, incl. t.p. and frontis. Vol. 2: 3 blank leaves of wove paper, 3 blank leaves of laid paper, half-title/blank, blank/frontispiece, ‘engraved’ t.p./blank, no watermark, ‘letterpress’ t.p.,/blank, pp.: 1-77 [78 blank], 2 blank leaves of laid paper, 3 blank leaves of wove paper; collated 12mo: π2 A-F6 G3; total 41 leaves plus 24 ‘engraved’ plates, incl. t.p. and frontis. Dutel (I): A-1089, p. 325: in-8 (probably by size only, no formula suggested), pagination 115 and 77 as here, 2 frontispieces, 2 engraved titles dated 1873, “et 36 belles gravures de Binet”. Cohen-DeRicci: p. 734 bottom: in-12, no pagination, no formula. "Thérèse" was offered by a French seller user-75d14f4 on the online auction platform CATAWIKI in December 2021. The seller's description of this two-volume set was: "Re-edition, the date of which I was unable to determine. (London, no name, 1782) 2 duodecimo volumes of 115 and 77 pp., very lovely marbled sheepskin pastiche bindings, gilded triple fillets, adorned spines, black title labels. This classic of 18th-century clandestine erotica was written in 1748 by an author who has remained anonymous, attributed at the time to Montigny, which led to his internment in the Bastille. It is now attributed to the Jean-Baptiste de Boyer, Marquis d'Argens. Edition illustrated with 37 very unrestrained figures, engraved in intaglio after Borel, unsigned." I should have paid more attention to the first phase, about the re-edition, but I didn't. After a few bidding rounds, I won the book when the hammer price was 2,200 Euros. On the 28th of December, 2021, I paid for this little beauty $2,760. The book arrived a few days later. The paper's quality and texture, the watermark, the absence of the platemark, and the lack of embossing on the back (text and plates) made me suspect it was a fake. The pages were absolutely flat to the touch! I established clear evidence of a high-resolution 'xerox' copy using Celestron Micro Capture Pro micro-photography. I wrote to the seller and the auction platform, explaining my doubts regarding its authenticity. To prove my point, I include a few micro photos of the "Thérèse" and some books printed at the end of the 18th century. I explained why I considered it a fake and requested a return/refund. After two months of email exchanges, the seller and the platform refused to pay me back. Today is the 2nd anniversary of the purchase. I still have the book. To celebrate my carelessness, I included it in my library to warn fellow book collectors about buying from an unknown dealer via certain online auction platforms. Ref.: Bamber Gascoigne. How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink. — Thames and Hudson, 1995.
Books used for comparison: [LIB-2743.2021] Restif de la Bretonne. Les parisiennes, ou XL caractères généraux pris dans les mœurs actuelles, propres à servir à l’instruction des personnes-du-sexe / 4 vol. — Neufchâtel, et Paris: Guillot, 1787. [LIB-3027.2022] [Héliodore d’Emèse]. Amours de Théagènes et Chariclée: Histoire Éthiopique / 2 vol. — Londres [i.e. Paris]: [s.n.], 1743. [LIB-3252.2023] [Nicolas Chorier.] Le Meursius françois, ou entretiens galans d’Aloysia, orné de figures. — Cythere [i.e. Paris: Cazin], 1782. Below is a Xerox copy for comparison.Thérèse philosophe, 1783.
Late 18th century books
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Thirteen unnumbered loose leaves 323 x 249 mm, watermarked BFK Rives, with manuscript text and vignettes produced by etching or, more likely, drypoint (see microphoto), incl. title-page, one full-page illustration and two leaves of text only; versos blank. Some leaves have registration marks. The set is housed in a cream French flapped folder (chemise) without lettering; the seller’s description is pasted to the front cover verso, glassine dust cover. Seller’s description: Cette édition in-folio du recueil de poèmes de Louis de Gonzague Frick, inconnue de Jean-Pierre Dutel, qui « a été tirée à 50 exemplaires (...) est certainement la plus rare (et a été) publiée après 1940 sur vélin (BFK) Rives » (cf. Ader, 3 mars 2020, n°155). Exemplaire « de passe », sans justificatif, complet des 13 planches avec 11 eaux-fortes, dont une à pleine page, d'Auguste Brouet. Ref.: According to honesterotica, the first edition was published in 1938 in 65 copies: "The pink Ingres paper and the loose-leaf format tied with a red ribbon". Another source states: "Le tirage a été effectué avec marges, sur papier vélin BFK Rives au format in-4 (32,5 × 25), les planches mesurant 26,5 × 22 cm. Certains exemplaires sont sur papier blanc - Je remercie le libraire qui a pris la peine de me communiquer ces dernières informations. Pour moi, c'est bien l'édition à 65 qui est l'originale, les deux autres étant des retirages légèrement postérieurs, mais dans le détail desquels le principe de l’œuvre - un manuscrit destiné à quelques amis de l'auteur - a été quelque peu trahi." Contributors: Louis de Gonzague Frick (French, 1883 – 1958) Auguste Brouet (French, 1872 – 1941) -
Colour (tone) lithography, image 396 x 508 mm, sheet 532 x 654 mm; before signature, undated; pencil ms inscription: Föhrenhain — E. Pelikan / 200M to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus". -
Colour (tone) lithography, image 268 x 410 mm, sheet 317 x 470 mm; signed on bottom-left of the image “Pelikan 1905”, and pencil ms inscription: E. Pelikan to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus". -
Softcover volume, 33 x 26 cm, collated in folio, not bound, in publisher’s French flapped pictorial wrappers, lettering to spine; printed on thick wove Arches paper watermarked “MBM”, upper edge trimmed, owner’s blind stamp to h.t. “Ex Libris Comte Tony de Vibraye”, glassine dust jacket, in a slipcase. Collation: π2 1-262, total 54 leaves, plus 4 leaves in wrappers, plus 10 plates, incl. frontispiece; coloured aquatints after Sylvain Sauvage; coloured etched vignette to front wrapper, gilt woodcut to back wrapper, woodcut title-page and woodcut headpiece after the same. Pp.: [4] [1] 2-102 [2]. Front wrapper (gilt and black): LA NUIT & LE MOMENT | {vignette} | OU | LES MATINÉES DE CYTHÈRE | PAR | MONSIEUR DE CRÉBILLON LE FILS | — || Title-page (woodcut): CRÉBILLON LE FILS | — | LA NUIT ET LE MOMENT | OU | LES MATINÉES | DE CYTHÈRE | {vignette} | A PARIS | AUX DEPENS D'UN AMATEUR | — | M CM XXIV || Limitation: De cette édition il a été tiré un exemplaire unique sur japon impérial comportant dix aquarelles originales, deux cents trente exemplaires sur vélin d' Arches numérotés 1 à 230, dont les dix premiers avec une suite de hors texte sur japon. N° 1 [Print run limited to 230 copies on Arches plus a unique copy on Japon with original watercolours, this is copy № 1 on wove paper]. Seller’s description: La Nuit et le moment ou Les Matinées de Cythère. Paris, Au dépens d'un amateur, 1924. In-4, en feuilles, non rogné, couverture illustrée et étui. Ouvrage illustré de 4 gravures sur bois et de 10 eaux-fortes libres en couleurs hors texte de Sylvain Sauvage. Tirage à 231 exemplaires, celui-ci le n°1 sur vélin d'Arches. Manque la suite de hors texte sur japon. De la bibliothèque du Comte Tony de Vibraye, avec cachet à froid. Dutel, n°2062. Catalogue raisonné: honesterotica.com; Dutel III 2062. Contributors: Claude-Prosper Jolyot de Crébillon [Crébillon fils] (French, 1707 – 1777) – author. Sylvain Sauvage [Félix Roy] (French, 1888 – 1948) – artist. Provenance: Antoine Henri Gaston Hurault de Vibraye [Comte Tony de Vibraye] (French, 1893 – 1951) -
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) -
Publisher's flapped folder of black velvet paper with dark green embossed vignette, 494 x 325 mm, with a pink limitation label inside the front cover and a printed spade with 'FIN" inside the back cover; a set of 13 lithographs signed Santippa, 936; 480 x 310 mm each, twelve in black and one (title) coloured with sanguine. Limited edition of 250 copies, 1-100 printed on Hollande and 150 on Japon; this is copy № 127.Titles: Rêverie, Gaspillage, Exagération, Simplicité, Gourmandise, Abondance, Violence, Fantaisie, Faiblesse, Curiosité, Obligeance, Surprise.
Contributors:Gaston Hoffmann [Santippa] (French, 1883 – 1977)
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Softcover volume, 25.9 x 16.7 cm, in French flapped wrappers lettered "PIETRO ARETINO | SONNETS | LUXURIEUX | {garland}" unbound, 6 gatherings in 4to (24 leaves, incl. those in wrappers), a few sheets of guard tissue laid in, unpaginated, lower margin untrimmed; in a burgundy double slipcase 26.3 x 17.3 cm. Illustrated with title-page vignette, red initials and tailpieces and 16 half-page engravings by Jean Baptiste Tavy Notton. Text in Italian and French. Title-page (red and black): SONNETS | LUXURIEUX | de | PIETRO ARETINO | dit L'ARÉTIN | avec accompagnement | de gravures au burin | d'après la description des gravures | de GIULIO PIPPI DE GIANNUZZI dit JULES ROMAIN | {vignette} | AUX DÉPENS | DE QUELQUES AMATEURS | 1948 || Clandestine limited edition, print run of 250 copies, of which this is copy № 20, printed on thick wove paper without watermarks. Catalogue raisonné: Dutel III № 2421. Original edition: Sonetti lussuriosi by Pietro Aretino, illustrated by Giulio Romano and engraved by Marcantonio Raimondi, published clandestinely in Venice in c.1527. Contributors: Pietro Aretino (Italian, 1492 – 1556) – author. Jean Baptiste Tavy Notton (French, 1914 – 1971) – artist. Antoine-Isidore Liseux (French, 1835 – 1894) – translator/comments. Giulio Romano [Giulio Pippi, Giulio Giannuzzi] (Italian, c.1499 – 1546) – artist. Marcantonio Raimondi (Italian c. 1470/82 – c. 1534) – engraver. -
Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Kabuki actors Ichikawa Danjūrō VIII and Arashi Rikan III as sumo wrestlers Nuregami Chōgorō (L) and Hanaregoma Chōkichi (R), respectively. Signed: Ichiyûsai Kuniyoshi ga (一勇斎 國芳 画) in a double gourd-shaped cartouche with Yoshi Kiri seal. Publisher: No seal. Date seal and double nanushi censor seal: Mera & Watanabe, 1852. Media: Fan print (uchiwa-e, 団扇絵), 231 x 295 mm. Theme: Nine-act drama (11 scenes) Futatsu Chōchō Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters) written by Takeda Izumo II, Namiki Senryū I, Miyoshi Shōraku (7/1749) as puppet play Bunraku [文楽], adopted for Kabuki theatre by Arashi San'emon IV. “The sumo wrestler Nuregami Chōgorō is trying to ransom the courtesan Azuma for Yogoro, in whose debt he stands. Hiraoka Goemon, who is at odds with Yogorō and Azuma, is the patron of the amateur wrestler Hanaregoma Chōkichi. Chōgorō purposely loses to Chōkichi and then asks the latter to stop Goemon's ransoming of Azuma; Chōkichi refuses, however, and they quarrel. Admonished for his dissipation by his sister Oseki, Chōkichi is going to commit ritual suicide (seppuku) as an apology for his behavior, but Chōgorō, who happens along just then, prevents him. The two men swear blood brotherhood. […] The confrontation between Chōgorō and Chōkichi in the Sumōba scene, acted in the exaggerated style called aragoto, is a major highlight of the work. The scene in Yohei's home, known as Hikimado, presents the unfolding of Kabuki's eternal conflict between duty and feelings, here represented by the act of opening the skylight (hikimado) to which Chōgorō is tied”. [Samuel L. Leiter. Kabuki Encyclopedia: an English-language adaptation of Kabuki Jiten. — Westport, CT; London: Greenwood Press, 1979, pp. 70-71]. See also James R. Brandon and Samuel L. Leiter. Kabuki plays on stage, vol. 1, pp. 234-258. — Honolulu: University of Hawai'i Press, 2002. Actors: Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizō VI, Ichikawa Shinnosuke II. Arashi Rikan III [嵐璃寛] (Japanese, 1812 – 1863); other names Arashi Tokusaburō III, Arashi Kicchō I, Onoe Wasaburō I. Another print in this collection with the same theme: SVJP-0331.2020.
Reference images:
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Description: ¾ contemporary red morocco over marbled boards, 33.1 x 25.8 cm, raised bands, gilt lettering to spine, in a marbled slipcase 34.2 x 25.9 cm. Printed on thick wove paper watermarked “MONTGOLFIER ANNONAY” by Canson & Montgolfier (Annonay, France). Front wrapper and title-page : A. D. M. | GAMIANI | OU | DEUX NUITS D’EXCÉS | FAC-SIMILE DU | TEXTE ORIGINAL | orné des 12 lithographies | de | DEVÉRIA & GRÉVEDON | 1833 – Paris – 1926 | aux dépens d'un amateur || Faux-t.p. (1): GAMIANI | OU | UNE NUIT D’EXCÉS | {vignette} | Bruxelles | 1833 || (fac-semilé of the original wrapper of 1833) Faux-t.p. (2): GAMIANI | OU | DEUX NUITS D’EXCÉS | {vignette} | Bruxelles | 1833 || (fac-semilé of the original wrapper of 1833) Collation: 2 blanks, 1 orig. lavender blue colour front wrapper, 1 blank, 1 h.t., 1 limitation p., 1 t.p., 3 leaves ‘Notice Bibliographique’, 32 leaves of printed text, 2 blanks, 1 brown faux t.p. (1), text in fac-semilé manuscript (7 leaves) with 8 coloured plates, 1 blank, 1 brown faux t.p. (2), 7 leaves of text with 4 plates, 2 blanks, brown back wrapper, lavender blue back wrapper, 2 blanks; total 64 leaves plus 16 plates. Pagination: [1-8] 9-75 [76] [4]; [1] 2-26; mispaginated p. 23 marked 25, f.t.p. and ffl not counted. Last four plates without letters. Limitation: a print run of 360 copies, of which 20 with ‘miniatures’ №№ 1-20, 100 with coloured plates №№ 21-120, 230 with b/w plates №№ 121-350; 10 copies not for sale, marked H. C. (hors commerce). This is copy № 201, which should be with black lithographs, but has coloured plates. According to J.-P. Dutel, the plates were printed from the original stones. For variations on Devéria & Grévedon designs for Gamiani see also: LIB-3087.2022 (Bruxelles, 1864); LIB-3093.2022 (Bruxelles, 1866); LIB-3090.2022 (Bruxelles, 1871); LIB-2902.2021 (Greman, 1911); LIB-2903.2021 (late 1940s). Catalogue raisonné: Dutel III 1640, p. 185. Contributors : Alfred de Musset (French, 1810 – 1857) – author. André Warnod [André de Sermanmagny] (French, 1885 – 1960) – author (bibliographical note) Pierre Louis Henri Grévedon (French, 1776 – 1860) – artist. Achille Devéria (French, 1800 – 1857) – artist. -
Description: Suite of 16 hand-coloured drypoints, in 39 x 29 cm, in cream French flapped wrappers with lavender lettering “SYMPHONIES AMOUREUSES” and a sanguine drypoint vignette (platemark 15 x 13 cm) to front, 17 leaves plus 2 leaves in the wrappers, 38.5 x 57 cm vertically folded once, lettering to one page, plate to another page, unbound, only the top margin trimmed, unpaginated, wove paper watermarked "BFK Rives", in a faux chagrin double slipcase 39.8 x 30 cm. Title-page (in lavender and black): SYMPHONIES AMOUREUSES | Suite de seize gravures | à la pointe sèche | rehaussées | {blank} | imprimé aux dépens | de Bibliophiles et non mis dans le commerce || Titles of the plates : 1. Ouverture. 2. Gamme. 3. Rêverie. 4. Pas redoublé. 5 Fantasia. 6. Pastorale. 7. Estudiantina. 8. Presto. 9. Arpège. 10. Menuet. 11 .Symphonie médiévale. 12. Jeux d’eau. 13. Galop. 14. Impromptu. 15. Variation. 16. Ariette. Limitation: Print run of 100 copies, 5 copies on Japon Manchou, numbered №№ 1-5, enriched; 11 copies on vélin à la forme de Rives, numbered №№ 6-16, enriched; 84 copies on vélin à la forme de Rives, numbered №№ 17-100, of which this is copy № 32. Cat. raisonné: Dutel III, № 2478. Contributors: André Collot (French, 1897 – 1976) – artist, engraver. -
Title-page: 30 | et quelques… | attitudes. | {vignette} | LITHOGRAPHIES | ORIGINALES DE | JEAN DE L’ÉTANG || Colophon: ACHEVÉ | D’IMPRIMER | EN | M C MLII || Description: Cream French flapped wrappers enforced with cardboard, in a double slipcase, 30.2 x 24 x 4.5 cm, with a lithograph to front and back depicting the female crotch, front and back, respectively. Printed on wove paper watermarked ‘Johannot’ (produced by Arches, France). Unbound; margins untrimmed. Collation: 2 leaves on the front and 2 on the back with two within the wrappers, incl. colophon, 2 leaves: one blank and one t.p. / limitation, 12 loose gatherings of 4 leaves each (48) with glassine interleaving. Pagination: [1-8] 9-102 [2], total 104 pp (leaves in wrappers not counted). Illustrated with 25 full-page lithographs (incl. covers) and 29 smaller images. Artist’s name Jean de l’Étang is most probably a pseudonym attributed by both J.-P. Dutel and Gérard Nordmann to Jean Dulac (French, 1902 – 1968). Limitation: A print run of 200 copies, of which this is copy № 186 (Nordmann's collection had №184). Cat. raisonné: Dutel III №2511, p. 388; Nordmann II №181, p. 89; Honesterotica. -
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 -
Description: Two volumes 23.1 x 14.9 cm each, collated in 4to, uniformly bound in French flapped wrappers with the title and an engraved vignette, coloured; wrapped in glassine; cased in a cardboard chemise (23.1 x 15 cm) with a diaper of two hearts pierced by an arrow, in pink; and both volumes cased in a slipcase (23.8 x 15.2 cm) with the same diaper. Printed on unpaginated dense wove paper watermarked ‘Arches’, engravings with clear plate marks. Illustrations are by Jean Dulac. Title-page (double-fillet frame, black and red in manuscript) Nelly et Jean | – | nous deux | simples | papiers | du| tiroir secret | {vignette} | Première partie (Deuxième partie) | – | Gravé | et imprimé | pour les auteurs | et leurs amis || Vol. 1: 1 blank, π4 (blank, h.t., frontis., engr. t.p.), 1-84, [2 blanks]; total 39 leaves with 19 hand-coloured burin engravings, incl. wrapper, frontis., and t.p. Unpag. Vol. 2: 1 blank, π4 (blank, h.t., frontis., engr. t.p.), 1-114, [1 colophon] [2 blanks], total 52 leaves with 27 hand-coloured burin engravings, incl. wrapper, frontis., and t.p. Unpag. Limitation: total print run of 295 copies of which 12 (№№ 1-12) on Japon Impérial, 13 on Vélin d’Arches (№№ 13-25), 30 on Japon Impérial (№№ 26-55) and 240 on Vélin d’Arches (№№ 56-295); this is copy № 97 on Vélin d’Arches. Contributors: Marcel Valotaire (French, 1889 – 1979) – author. Jean Dulac (French, 1902 – 1968) – artist. Printed by Coulouma (Argenteuil) and Vernant (Paris). The same title with illustrations by Gaston de Sainte-Croix was published in 1956: LIB-2880.2021. -
A shunga (erotic) print by Suzuki Harunobu [鈴木 春信] (Japanese, c. 1725 – 1770) depicting a woman making love with a man in the palanquin (のりもの/乗り物) while the other woman "ties a sash about her hips below her obi." The sheet is not signed; however, it is attributed to Harunobu. A reference image can be found in the Metropolitan Museum (NY) collection, Accession Number JP1635:According to the MET "the palanquin ... has carried these courtesans to the shore for a spring outing". Some time ago, a similar print was sold by Richard Kruml (description: A chuban shunga print showing the occupant of a kago in flagrante with one of the porters, having seized the opportunity of a stop on the journey. Published late 1760s. Rare). Another copy was sold at Sotheby's in Paris for €3,360 on November 27, 2002 (Lot 24), with a reproduction of the print's detail and description on p. 39: Suzuki Harunobu (1725 – 1770) | Shunga: couple dans un palanquin, vers 1768-1770, non-signe, cachet non identifé, cachets Charles Mitchell, Huguette Berès, Format chuban, 20.1 x 28.6 cm | 3000 – 4000 € | Il s’agit probablement de trois voyageurs, l’un d’entre eux debout près du palanquin faisant mine d’ignorer la scène. Bibliographie: Delay p. 87. Reference: [LIB-3121.2022] Sotheby's: Collection Huguette Berès – Estampes, dessins et livres illustrés japonais / 2 volumes; vol. 1. — Paris: Sotheby's, 2002.
http://www.metmuseum.org/art/collection/search/45071
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Single volume, 18 x 12.5 cm, bound in ¾ crimson morocco over marbled boards, gilt double-fillet borders, spine with gilded raised bands, gilt in compartments, gilt-lettered label, marbled endpapers, top margin gilt, text printed on dense wove paper, with 8 etchings by anonymous on thin laid paper (Chine) with tissue guards, after original lithographs by Devéria and Henri Grévedon or Octave Tassaert for the 1833 edition (1926 re-print LIB-3135.2023); the plate with the ape after 1864 edition (LIB-3087.2022) and the plate with the donkey after unknown. Title-page: GAMIANI | OU | DEUX NUITS D’EXCES | PAR | A D M | — | EN HOLLANDE | – | 1866 || Pagination: [4] (h.t., t.p.), [i] ii-xvi, [3] 4-153 [154 blank]; total 158 pages plus 8 plates (anonymous etchings), incl. frontispiece. Catalogue raisonné: Dutel I: A-470; Pia: 518/9. BNF Enfer 418. Note: This edition is conformant with Dutel, but not with Pia, who mentions [2], xvi, 148 pp. Pia writes: 'According to a bibliographic record published in 1874 by Vital Puissant, this edition was printed in Brussels by Briard on behalf of Alphonse Lécrivain, a Parisian publisher who took refuge in Belgium'. Catalogue Poulet-Malassis & ses amis description: № 74. [Alfred de MUSSET] A D M. Gamiani ou deux nuits d’excès. En Hollande, 1866. In-8 de xvi, 153 pages, demi-maroquin cerise à coins, dos à nerfs orné, lets dorés sur les mors, tête dorée, tranches naturelles, couverture conservée (reliure ancienne). Illustré de 8 gravures sur Chine dont l’une en frontispice, toutes accompagnées de serpentines. Piqûres et mouillures. Dutel A-470, pas à l’Enfer de la BnF.
