/Collection
  • Philipp Franz von Siebold. Manners and Customs of the Japanese, in the Nineteenth Century. 1841.

    Philipp Franz von Siebold. Manners and Customs of the Japanese, in the Nineteenth Century. 1841.

    Manners and Customs of the Japanese, in the Nineteenth Century. From the Accounts of Recent Dutch Residents in Japan, and from the German Work of Dr. Ph. Fr. von Siebold.

    Author: Siebold, Philipp Franz von et al.

    Publisher: Harper & Brothers, New York, 1841.

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  • Kamakura-bori tsuba with design of hatchet and fans. Edo period.

    Iron tsuba of round form with design of hatchet executed in openwork (sukashi) and three fan panels motif on both sides carved in low relief (sukidashi-bori). Designs on the fan panels - face: bellflower, plum blossom in mist, grass leaves; - back: clouds, grass, and half plum blossom in mist. Copper sekigane. Koga-hitsu-ana probably cut out on a later date. Kamakura or kamakura-bori school. Edo period. Height: 83.8 mm, Width: 82.2 mm, Thickness at seppa-dai: 3.2 mm. NBTHK certificate № 4005500: Hozon (worthy of preservation).
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  • Kamakura-bori tsuba with design of encircled paulownia (kiri-mon). Mid Muromachi period, ca. 1450.

    Iron tsuba of round form pierced with design of paulownia (kiri) in a circle in positive silhouette (ji-sukashi), details carved in low relief (sukidashi-bori). Hitsu-ana were cut later and then both plugged with lead or pewter. Brown patina. The most unusual characteristic of this tsuba is its 'positiveness': the absolute majority of Kamakura-bori tsuba are of ko-sukashi type, i.e. with small openings, presenting the motif in negative silhouette. Kamakura-bori school. Muromachi period (ca. 1450). Size: Height: 85.1 mm, width: 84.8 mm, thickness at seppa-dai: 3.2 mm, at rim: 2.8 mm. Weight: 79.1 g. A similar tsuba is presented at Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton. Part I. Christie's, New York, March 31, 1992, page 11, №3: "A Kamakura-bori tsuba. Muromachi period, ca. 1450. The round iron plate is pierced with an openwork design of a paulownia crest (kiri-mon), the surface details of which are carved in low relief. The design is repeated on the reverse. The edge is slightly raised  and the rim has some iron bones. 78 mm x 77 mm x 3.5 mm. Hakogaki by Sato Kanzan, dated summer 1973."

    Compton's Collection, Part I, p. 11, №3.

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  • Harukawa Eichō (Shunsai Eishō). Sumo wrestler Kuroyanagi Matsujiro. Circa 1820-40.

    This print was sold to me with the following description:  "Ikkansai EISHO (Fl. early 19th c.). A portrait of the wrestler Kuroyanagi Matsujiro, ring name Kumagatake Inosuke. Eisho was a pupil of Eishi. Published c. 1820s by Uoya Eikichi. Signed Shunsai Eisho ga." As a result of our joint effort with my beloved sister, we have so far found the following: The artis is mentioned in The Hotei Encyclopedia of Japanese Woodblock Prints, 2005, Vol 2; p. 438 under the name of Harukawa Eichō. From this source we learned that the artist was active from about 1818 till 1844, and was a print designer in Kyoto. He was a student first of Harukawa Goshichi and later studied in Edo (Tokyo) with Keisai Eisen, when he assumed the art name 'Eichō'. Other names: Shunsai. The Japanese web page dedicated to Harukawa Eichō provides more details: The artist lived from the 4th year of Tenmei ( 1784 ) to the first year of Kaei ( 1848 ). He was a student of Harukawa Goshichi, Kikukawa Eizan as well as of Keisai Eisen. His popular name was Kamenosuke. He was from Kyoto. He took "gagō" (artistic names) of Eishō when he was a student of Harukawa Goshichi; later, when he became a student of Kikukawa Eizan and Keisai Eisen he took the name of Kikukawa Eichō. The artist was mostly known for his bijinga (beautiful women) prints as well as kanazōshi illustrations. Nothing is said anywhere about his sumo prints, though the reference to another Kyushu sumo wrestler portrait has been found. The sumo wrestler Kuroyanagi Matsujiro is also a somewhat obscure figure: information about his life and career is quite inconsistent. It may so happened that two different persons were combined together. Wikipedia page about Aoi Aso Jinja, a Shinto shrine in Hitoyoshi in Kumamoto prefecture, tells us the following:
    Kuroki Matsujiro (黒木松次郎) was born in the village of Itsuki in Kuma district, Kumamoto prefecture, island of Kyushu in Bunka era, 4th year (1807). Since from his childhood he was blessed by great physique and tough strength. He had affection for sumo. At the age of 18 he became a sumo student of Kumamoto Shimakawa Ikuhei and took the name of Toyama Hidekichi (遠山日出吉). At the age of 23 (1830), he entered sumo stables in Kyoto, mastered the art of taming of young horses, and his talents improved. At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro of Hirado domain in Hizen province, also from Kyushu island. After that, he changed his name and became Kuroyanagi Matsujiro (黒柳松次郎 – as on the print). In 1847 (Bunka era, 4th year) he distinguished himself by advancing to the first grade, and at the age of 32 he was promoted to ozeki level, becoming sekitori. After changing his name to Kuma-ga-take Inosuke (熊ヶ嶽猪之介 / くまがたけいのすけ) he displayed further efforts, and became one of the strongmen that fermented sumo wrestling in Edo.　 In 1853 (Kaei era, 6th year) he retired and returned to his village, becoming an employee as a strongman of Sagara domain (相良藩), and worked hard as instructor of the sumo training hall to train successors until 1855 (Ansei era, 2nd year) when he passed away at the age of 48. Even today Kuma-ga-take's home exists in Itsukimura (his native village). Also, on those grounds a descendant of Kuma-ga-take runs minshuku (guest house) that bears the name of "The Kuroki Pension (lodging) ", and tourists come to visit from various parts of Japan. In 2015, tenth month, within the borders of Aoi Aso Shrine there was built a gravestone publicly honoring Kuma-ga-take Inosuke, sumo wrestler from Edo / of Edo period.
    This information has some inconsistencies already. If our hero was born in 1807 and promoted to ōzeki at the age of 32, it should have been the year 1839, not 1847. I found Kumagatake Isuke at "Sumo Reference" website:
    Highest Rank Maegashira 4
    Real Name Kuroki
    Birth Date 1815
    Shusshin Kumamoto-ken, Kuma-gun
    Death Date March 6, 1855 (40 years)
    Heya Oitekaze
    Shikona Kuroyanagi Matsujiro - Kumagatake Isuke
    Hatsu Dohyo 1836.02 (Sandanme)
    Intai 1853.02
    The real name is the same, the ring name Kuroyanagi Matsujiro is the same, however, the date of birth here is 1815.  He fought from 1836 till 1853 - which is quite similar to "At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro". Though, in 1836 he might be 29 years old. His bouts are listed from spring 1841 to spring 1848 under the name of Kuroyanagi and from winter 1848 till spring 1853 he listed under the name of Kumagatake Isuke [Inosuke].

    On another important sumo history website, I found that Kuroyanagi first appeared at ring in the spring of 1823 (he might have been 16 years old then, which does not seem right). Then, in the winter tournament of 1848 Kuroyanagi took the name Kumagatake. At the spring tournament of 1853 Kumagatake (Kuroyanagi) retired. This is quite consistent so far.

    Then, I found Oitekaze Kitaro, allegedly the teacher of Kuroyanagi.
    Highest Rank Ozeki
    Real Name SATO Matsujiro (Matsutaro#)
    Birth Date 1799
    Shusshin Kanagawa-ken, Tsukui-gun
    Death Date May 4, 1865 (66 years)
    Heya Oitekaze
    Shikona Kuroyanagi Matsujiro - Kuroyanagi Sumiemon - Oitekaze Kitaro
    Hatsu Dohyo 1817.10 (Jonokuchi)
    Intai 1839.03
    Everything look good with an exception of ring names (shikona): Kuroyanagi Matsujiro (1823-1828) - Kuroyanagi Sumiemon (1829-30) - Oitekaze Kitaro (1831-1839). May it be that Sato Matsutaro fought under the name of Kuroyanagi Matsujiro until Kuroki Matsujiro took this name from his master? I don't have another explanation of the enigma. What we know is that we have a portrait of a sumo wrestler called Kuroyanagi Matsujiro from Kyushu, but we don't know whether this was the one from Kumamoto (Kumagatake Inosuke, 1807/1815-1855) or the other from Kanagawa (Oitekaze Kitaro, 1799-1865). Subsequently, we may declare that the artist is Shunsai Eishō, a.k.a.Harukawa Eichō from Eishi school (The Hotei Encyclodepdia, p. 524), we can date the print from 1818 to 1844, and only tell that the wrestler is Kuroyanagi Matsujiro from Kyushu (either Kumagatake Inosuke or Oitekaze Kitaro). The publisher of the print is Moriya Jihei (Marks №353, p. 243-5). That's it.
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  • Iron tsuba with knotted geese motif by Myochin Katsuharu of Echizen province. Edo period.

    Iron tsuba of circular form with the knotted geese (kari) flying over the rough waves pierced (sukashi) and carved in low relief (nikubori). Hitsu-ana plugged with soft metal. Hitsu-ana plugged with soft metal (tin or lead).

    Signed: Echizen koku jū Myochin Katsuharu saku.

    Edo period.

    Size: Height: 80.7 mm; Width: 81.0 mm; Thickness: 4.5 mm; Weight: 110 g.

    Two tsuba of this master can be found at Georg Oeder Collection (Japanische Stichblätter und Schwertzieraten. Sammlung Georg Oeder Düsseldorf. Beschreibendes Verzeichnis von P. Vautier. Herausgegeben von Otto Kümmel.Oesterheld & Co / Verlag / Berlin, Oesterheld, 1915; LIB-1465 in this collection) under №№ 172 and 173, page 21, though no illustrations. SOLD.
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  • Owari tsuba with double crossbar and family crests motif. Early Edo period, 17th century.

    Iron tsuba of round form with design of double crossbar and two family crests (hikiryo-ni-kamon) in openwork (sukashi). Squared rim. Copper sekigane. Owari school. Early Edo period: Late 17th century (Kanbun / Enppo era). Height: 80.9 mm. Width: 80.8 mm. Rim thickness: 5.0 mm. Center thickness: 4.6 mm. Provenance: Sasano Masayuki Collection, № 172: "A paulownia and a clover are diagonally opposite two crossbars. This expressive design suggests a Higo origin, but the iron and the finish are certainly of the Owari school. Work of this nature may have been influenced by Hayashi Matashichi (1613-1699)."
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  • М. Беломлинский. Вертолет, Чукотка. 1975.

    Mikhail Belomlinsky. Born 1934, Russia. Helicopter. Watercolor painting on paper from Chukotka expedition, 1975. Size: 36 x 48 cm.
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  • Netsuke with design of a man wrestling a giant octopus. The second half of the XIX century.

    Ivory netsuke with a design of a man (possibly - Ariōmaru) wrestling a giant octopus.

      Circa 1850. Dimensions: 45.5 x 48.3 x 37.8 mm

    Unsigned.

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  • Skizzenbuch: Hundert Federzeichnungen von Heinrich Kley / Vol 1 & 2. — München: Albert Langen, [1909, 1910].

    The edition consists of two albums:

    1) Skizzenbuch: Hundert Federzeichnungen von Heinrich Kley. — München: Albert Langen, [1909]. — pp.: [1-4] 5-63 [64], illustr. Printed by Hesse & Becker in Leipzig. Bound in the original brown moire covered boards, with a paste-down drawing on the front, gilt cover titles, original patterned endpapers.

    2) Skizzenbuch II. Hundert Federzeichnungen von Heinrich Kley. — München: Albert Langen, [1910]. — pp.: [1-4] 5-64, illustr. Printed by Hesse & Becker in Leipzig; paper by Bohnenberger & Cie.; binding by E. A. Enders, Leipzig. Bound in the original bluish-gray moire covered boards, with a paste-down drawing on the front, gilt cover titles, original patterned endpapers.

    The number of printed copies unknown. Reproduction of ink drawings by Heinrich Kley, 1st edition.

    Dimensions of each album: 32 x 24.5 cm; Quarto. Heinrich Kley (April 15, 1863 in Karlsruhe – 1945? in Munich) was a German illustrator, editorial illustrator and painter.
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  • Utagawa Kunisada. Ichikawa Ebizō V (Danjūrō VII) in a Shibaraku role, 1833.

    Ichikawa Ebizo V (1791 – 1859) a.k.a. Ichikawa Danjûrô VII was a great-great-great-son of Ichikawa Danjûrô I. He started his stage career in 1794, at the age of 4, playing in Shibaraku (the role he is depicted here). During his stage life, he played every role type. He was later banished from Edo for living too luxurious life for an actor. While in exile he flourished in Kioto and Osaka. Kichirei (Festive Annual Custom). Publisher: Takenouchi Magohachi (Hoeidô) Circa 1833. Description: 役者の舞台姿を描いた「舞台姿」シリーズと、日常図を描いた「千社詣」シリーズがあり、同じ役者が向かい合って対になる。(『五渡亭国貞』). Signed: Gototei Kunisada ga [五渡亭国貞画]. Censor's seal: kiwame 改印：極. Ref.: Shindo, Gototei Kunisada Yakusha-e no Sekai (1993), plate 88; Utagawa Kunisada, 150th Anniversary of His Death, Ota Memorial Museum, no. 169; MFA ACCESSION NUMBER 11.43128.
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  • Thomas Bewick. A general history of quadrupeds / 5th edition. — Newcastle upon Tyne: Edward Walker, for T. Bewick and S. Hodgson, 1807.

    Title: A | GENERAL HISTORY | OF | QUADRUPEDS. | – | THE FIGURES ENGRAVED ON WOOD | BY | THOMAS BEWICK. | — | THE FIFTH EDITION | {vignette} | NEWCASTLE UPON TYNE: | PRINTED BY EDWARD WALKER, FOR  T. BEWICK AND S. HODGSON: | SOLD BY THEM, AND ALL BOOKSELLERS. | 1807. Pagination: [2 blanks], [i, ii] – t.p. / blank], [iii, iv] – advertisement, [v] vi-x – index, [1] 2-525 [526 advert. of British Birds] [2 blanks]. Collation: Royal 8vo in fours; π (engraved title), a4 A-3T4 χ3T3. F2 signed 2F, 2E2 unsigned, p. 131 numbered correctly, p. 257 numbered 572. Size: 26 x 17 cm; page 24.5 x 16 cm (royal). Woodcuts: 302 descriptions of quadrupeds, 225 figures and 112 vignettes, tail-pieces, etc. Binding: Full diced brown calf, embossed blind corner fleurons, gilt-tooled border inside and outside, AEG, spine with raised bands, gilt in compartments, lettering; binding restored; armorial bookplate "Thorpe" to front pastedown. Likely to be Thomas Thorpe (1791 – 1851), a prominent bookseller in London: Bedford Street, Covent Garden; started in 1818, went bankrupt on Dec. 31, 1825. Thorpe's family coat of arms: stag standing on a crown and a lion rampant. Catalogue raisonné: S. Roscoe (1953): pp. 23-27. Hugo (1866): pp. 22-24.
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  • [Voltaire]. La Pucelle d’Orléans, Poëme héroï-comique en dix-huit chants. — Genève: [Cazin], 1788.

    LA PUCELLE | D'ORLÉANS, | POËME HÉROÏ-COMIQUE, | EN DIX-HUIT CHANTS. |{vignette}| A GENEVE. | M. DCC.LXXXVIII.|| Pagination: engraved frontis., engraved portrait, [1, 2] – t.p. / blank, [3] 4-304; plates: engraved frontispiece, engraved portrait of Jeanne d'Arc and 18 engraved plates (the so-called 'suite anglaise' by Marillier, Clément-Pierre (French, 1740 – 1808) after Duflos, Pierre (French, 1742 – 1816). Publisher: Cazin, Hubert-Martin (French, 1724 – 1795). Modern binding to imitate full mottled calf of the 18th century, gilt double-ruled boards, gilt decorated spine with the crimson label “LA PUCELLE”, AEG, laid paper. Size: 13.3 x 8.7 cm; 18mo. Catalogue raisonné: Cohen, De Ricci 1032 (for 1777 and 1780 editions). J. Lewine p.559 (for 1777 16mo and even 12mo editions). The 'correct' 1st thus edition is called suite anglaise because instead of 'chant number' it's printed 'book number' on top of the pages. This copy is definitely a later pirated edition.
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  • Giacomo Casanova. Erinnerungen aus galanter Zeit / mit Bildern von F. v. Bayros. Eingeleitet von Hanns Heinz Ewers. – Berlin: Wilhelm Borngräber, 1916. – ffl, 2 - cit., advert.] [1-4] 5-557 [558] [2 - table+illustr., printer], bfl.], frontis, and 5 plates.

    Giacomo Casanova. Erinnerungen aus galanter Zeit / Bildern von F. von Bayros, Eingeleitet von H. H. Ewers. — Berlin: Wilhelm Borngräber, [1916?]

    Front board: CASANOVA | Erinnerungen aus | galanter Zeit | Illustriert von | F.v. Bayros | {gigniette} | BERLIN | Verlegt bei Wilhelm Borngräber || Title: Giacomo Casanova | Erinnerungen aus galanter Zeit | Mit Bildern von F.v. Bayros | Eingeleitet von | Hanns Heinz Ewers | 66. Bis 70 Tausend | — | Wilhelm Borngräber Verlag | Berlin || Pagination: [2] , [1-4] 5-557 [558] [2] + frontispice + 5 plates (photogravures). Collation: 8vo; [1]8 2-358. Size: 18.8 x 13 x 4.3 cm Binding: hardcover, quarter cloth, paper boards with vignette and lettering, gilt lettering to spine. Note: the year and the edition were not stated and could not be inferred so far, probably one of the early editions between 1911 and 1925.
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  • Convolute: (1) Firmin Maillard. Les publications de la rue pendant le Siège et la Commune. — Paris : Auguste Aubry, 1874; (2) La Commune de Paris: 18 mars – 28 mai 1871 / exposition d’art et d’histoire, 17 mars – 26 mai 1935. — Ville de Saint-Denis: Musée Municipal, [1935]; (3) J. Lemonnyer. Les journaux de Paris pendant la commune / revue bibliographique complete de la presse parisienne du 19 mars au 27 mai. — Paris : J. Lemonnyer, [1871].

    Convolute with three editions, dedicated to the Commune of Paris, 1871. (1) LES | Publications de la Rue | pendant | LE SIEGE ET LA COMMUNE | SATIRES — CANARDS — COMPLAINTES — CHANSONS | PLACARDS ET PAMPHLETS | BIBLIOGRAPHIE | PITTORESQUE ET ANECDOTIQUE | Par Firmin MAILLARD |{publisher’s device}| PARIS | AUGUSTE AUBRY, ÉDITEUR | 18, RUE SÉGUIER, 18 | 1874 || Pagination: ffl, original pictorial wrapper, [2] – blank / advert., [2] – h.t. / blank, [2] – h.t. / colophon imprim. PILLET FILS AINÉ, frontis. similar to front wrapper without '1874', [2] – t.p. / blank, [v] vi-xii, [1] 2-198, three blank leaves, back wrapper. (2) VILLE DE SAINT-DENIS | EXPOSITION D'ART & D'HISTOIRE | La Commune de Paris |18 Mars 1871 28 Mai | AVANT-PROPOS DE Lucien DESCAVES | de l’Académie Goncourt | PREFACE DE Jacques DORIOT | Député de la Seine, Maire de Saint-Denis | Du 17 Mars au 26 Mai 1935 | au Musée Municipal | 4, place de la Légion d’Honneur – Saint-Denis || Pagination: original pictorial wrapper in black and red, frontis., [2] - t.p. / blank, [2] – commité, v-xiii [xiv] 1-113 [114], 26 plates (13 leaves), blank back wrapper, spine tipped-in. (3) J. LEMONNYER | LES | JOURNAUX DE PARIS | PENDANT | LA COMMUNE | REVUE BIBLIOGRAPHIQUE COMPLETE | DE LA PRESSE PARISIENNE | du 19 Mars au 27 Mai | AVEC |{7 lines of text}| ET | UNE TABLE ALPHABÉTIQUE | DONNANT LE PRIX-COURANT DE CHAQUE COLLECTION | PARIS : J. LEMONNYER, Librarire | 73, Rue de Provence, 73 || Pagination: [2] - t.p. / blank, [2] – preface, [7] 8-94, green back wrapper w/advert., bfl. (lacks original front wrapper). Binding: Modern (20th century) red cloth, black label with gilt lettering to spine, matching marbled endpapers. Size: 18.5 x 13 cm; 12mo.
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  • Габриэль Гарсия Маркес. Сто лет одиночества. Роман. пер. с исп. Н. Бутыриной и В. Столбова. М.: Изд-во "Художественная литература", 1971.

    Габриэль Гарсия Маркес. Сто лет одиночества / Перевод Н. Бутыриной и В. Столбова. — М.: Художественная литература, 1971.

    Hardcover, publisher's white cloth with a black imprint to cover, red and black lettering to spine, pictorial DJ, pp.: [1-4] 5-398 [2]. Послесловие В. Столбова, художник В. Юрлов. Russian translation of Cien años de soledad by Gabriel García Márquez. 
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  • Гуго Гроций. О праве войны и мира: Три книги, в которых объясняются естественное право и право народов, а также принципы публичного права / Пер. с лат. А. Л. Саккетти. — М.: Госюриздат, 1956.

    Title page (black and red): ГУГО ГРОЦИЙ | О ПРАВЕ | ВОЙНЫ | И МИРА | ß ТРИ КНИГИ ß | В КОТОРЫХ ОБЪЯСНЯЮТСЯ | ЕСТЕСТВЕННОЕ ПРАВО | И | ПРАВО НАРОДОВ, | А ТАКЖЕ ПРИНЦИПЫ | ПУБЛИЧНОГО ПРАВА | {device} | Перевод с латинского | А. Л. САККЕТТИ | Государственное издательство | ЮРИДИЧЕСКОЙ ЛИТЕРАТУРЫ | МОСКВА 1956 || Verso t.p.: Под общей редакцией профессора С. Б. КРЫЛОВА Pagination: [1, 2] – t.p. / editor, [3] 4-867 [868] – contents, errata slip, 4 plates extraneous to collation: frontis. portrait, t.p. Amsterdam edition of 1646, t.p. Russian edition of c. 1710, Lovensteyn castle. Collation: 8vo; [1]8 2-548 552. Binding: Publisher’s brown cloth, blind-stamped lettering to front board, elements of design in black and gilt lettering to spine. Вступительная статья А. А. Желудкова. Author: Hugo Grotius [Huig or Hugo de Groot] (Dutch, 1583 – 1645). Originally published by Nicolas Buon in Paris in 1625 in Latin under the title: De iure belli ac pacis (English: On the Law of War and Peace). Editor: Сергей Борисович Крылов (Russian, 1888 – 1958). Translator: Александр Ливериевич Саккетти (Russian, 1881 – 1966).
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  • Первый день Всероссийского Учредительного собрания. Стенографический отчет. Петроград. 5-6 января 1918 г. / Печатается по распоряжению председателя Учредительного собрания. — Пг.: 5-я гос.тип-я, 1918. — 112 стр.

    Первый день Всероссийского Учредительного собрания. Стенографический отчет. Петроград. 5-6 января 1918 г. — Пг.: 5-я гос. тип-я, 1918.

    Cover: УС 1918 УС | ПЕРВЫЙ ДЕНЬ | ВСЕРОССIЙСКАГО | УЧРЕДИТЕЛЬНАГО | СОБРАНIЯ | СТЕНОГРАФИЧЕСКIЙ | ОТЧЕТЪ | 5-6 ЯНВАРЯ […] ПЕТРОГРАДЪ […] 1918 г. Title page: УЧРЕДИТЕЛЬНОЕ | СОБРАНIЕ | СТЕНОГРАФИЧЕСКIЙ ОТЧЕТЪ | ПЕЧАТАЕТСЯ ПО РАСПОРЯЖЕНIЮ ПРЕДСѢДАТЕЛЯ | УЧРЕДИТЕЛЬНАГО СОБРАНIЯ. | ПЕТРОГРАДЪ | Пятая Государственная типография, Стремянная, 12. | 1918. || Pencil inscription to t.p.: "Москва 1923 г. С. Варшавский". 23 x 16.5 cm, publisher’s pictorial wrappers, woodcut to front cover, pp.: [1-3] 4-112; collation: [1]8 2-78.
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  • Жан де Лабрюйер. Характеры, или нравы нынешнего века / пер.с фр. Э. Линецкой и Ю. Корнеева— М.-Л.: Художественная литература, 1964.

    Жан де Лабрюйер | ХАРАКТЕРЫ, | ИЛИ | НРАВЫ | НЫНЕШНЕГО | ВЕКА | Перевод с французского | Э. ЛИНЕЦКОЙ И Ю. КОРНЕЕВА | ИЗДАТЕЛЬСТВО | «ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА» | МОСКВА  • ЛЕНИНГРАД | 1964 || Pagination: frontis., [2] 3-413 [414-416]; print run 50,000 copies. Collation : 8vo, [1]-268. Binding: 21 x 13.5 cm, olive buckram, lettering to cover and spine. Jean de La Bruyère (French, 1645 – 1696). Юрий Борисович Корнеев (Russian, 1921—1995). Эльга Львовна (Лейбовна) Линецкая [b. Фельдман] (Russian-Jewish, 1909 — 1997)
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