-
NEWHardcover volume, 17 x 14 cm; bound in red buckram with gilt lettering in geometrical frame, black label with gilt lettering and fillets to flat spine. Print run 150,000 copies. Collation: 18 2-1316, i.e. 200 leaves plus 8 plates incl. frontispiece portrait of the author, pp. [2] 3-397 [3]. Title-page (red and black): МОНТЕСКЬЁ | ПЕРСИДСКИЕ | ПИСЬМА | {fleuron} | — | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО | ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЫ | МОСКВА • 1956 || Title verso: MONTESQUIEU | LETTRES PERSIANES | 1721 | Перевод с французского | под редакцией | Е. А. ГУНСТА | Вступительная статья | С. Д. АРТАМОНОВА || Contributors: Montesquieu, Charles-Louis de Secondat, baron de (French, 1689–1755) – author Артамонов, Сергей Дмитриевич (Russian, 1915 – 1989) – author preface Гунст, Евгений Анатольевич (Russian, 1901 – 1983) – translator -
Two volumes, 32 x 24 cm each, uniformly bound in grey cloth with crimson morocco labels with gilt lettering to spine “Н. Обольяниновъ | КАТАЛОГЪ | иллюстриров. изданiй | 1725-1860 гг. | I (II)”, original wrappers preserved. To t.p. verso ink stamps “Latvijas PSR Zinātn̦u akadēmija Fundamentālā bibliotēka”, “1964”, “KATALOGS”, and “Z.A.B. Inv. № 80274”. Printed on laid paper, pagination throughout. 3,038 items with bibliographical descriptions. Title-page: КАТАЛОГЪ | РУССКИХЪ ИЛЛЮСТРИРОВАННЫХЪ | ИЗДАНIЙ | 1725—1860 гг. | — | СОСТАВИЛЪ | Н. Обольяниновъ. | Въ двухъ томахъ | Т. I (II). | ~ | МОСКВА – 1914 (1915). | Товарищество ТИПОГРАФIИ А. И. МАМОНТОВА, | Арбатская пл., Филипповский пер., д. № 11. || Vol. I: Collation: π6 1-424, total 174 leaves; pp.: [i-v] vi-xii, [1] 2-335 [336 errata] (total 348 pages); within green publisher’s wrappers. Vol. II: π2 1-444, total 178 leaves; pp.: [4] [337] 338-686 [687 errata], [688 blank] (total 356 pages); within green publisher’s wrappers. Provenance: Fundamental library of the Latvian Academy of Sciences. Contributors: Николай Александрович Обольянинов (Russian, 1868 – 1916) – author. Анатолий Иванович Ма́монтов (Russian, 1839 – 1905) – publisher. -
Fuchi: 38 x 22 x 12 mm. Kashira: 32 x 17 x 11 mm Main material: shakudo; surface treatment: nanako-ji; other metals: gold, shibuichi and copper; decorative technique: iroe takazogan. Signed: Nyudo Jounishi 人道 乗西 (possibly) -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Actor Morita Kan'ya XI as Saito Tarozaemon Toshiyuki (Morito Kan'ya, Saito Tarozaemon Toshiyuki) Signed Toyokuni ga within the artist's Toshidama cartouche, publisher's seal Sho, Kinshodo, carver's seal Horiko Ryusan, censor's seal aratame with date 1860, 3rd month. Date: 3/1860. Oban tate-e; 36.5 x 25.3 cm. The actor Morita Kan'ya XI (1802-1863) is in the role of Saito Tarozaemon Toshiyuki from the play Oto no Miya Asahi no Yoroi (Oto no Miyo and the Armor of the Rising Sun). The play picks up following the Genko War of 1331-33 in which Emperor Go-Daigo (1288-1339) led a failed uprising against the ruling Hojo clan. Tarozaemon was a Hojo warlord and is credited with much of the victory. After the conflict, his lord Norisada receives a summer festival lantern from the courtesan Sanmi-no-Tsubone, which bears a riddling inscription. He and Tarozaemon deliberate over the courtesan and her message for quite some time until they realize that she is attempting to manipulate Norisada in the hopes of returning the Emperor from exile. Following this revelation, Norisada reinterprets the message to mean kiriko, literally "to cut a child," and determines that Sanmi-no-Tsubone's son must be killed. He instructs Tarozaemon to do the deed. However, unbeknownst to Norisada and in spite of his allegiance to the Hojo clan, Tarozaemon is sympathetic to Sanmi-no-Tsubone and her son. At one time, his own daughter had served in the Imperial Palace and was spared execution only through Sanmi-no-Tsubone's intervention. As repayment of that debt, he kills his own grandson in the other boy's stead and returns to Norisada to report that he had accomplished the mission. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo's Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors from the past and present in their famous roles. Kunisada was guided by images from his own oeuvre: he recorded Kan'ya in this role in the 8th month of 1829. As this was meant to be Kunisada's grandest actor series, it was executed on thick paper with the best possible pigments and the highest level of craftsmanship. In this unusual frontal portrait, Kunisada presents Morita Kan'ya XI as the loyal Tarozaemon with his eyes rolling upward and his jaw set in grim determination to commit the unthinkable act in an ultimate display of samurai honour. Text by Scholten Japanese Art, New York. Ref.: Waseda University Theatre Museum (enpaku.waseda.ac.jp), accession no. 100-5261 (for 1829 portrait of the same); [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 165 (№ 16). Andreas Marks. Publishers of Japanese woodblock prints: A compendium. Ebisuya Shoshichi (1846-83) - P6032. -
La Préfecture de Police, par un vieux petit employé - Procès de La Lanterne avec tous ses incidents. Administration du journal La Lanterne, Paris, 1879.
Quatrième édition.
Anonymous publication. Authorship attributed to: Yves Guyot, Francisque Sarcey. Source: Harvard College Library, Soc. 3375.6, 14-OCT-1914, Wolcott Fund.
-
Iron tsuba of round form with design of hatchet, snowflake, and triple diamond in openwork (ko-sukashi), and inlaid with five concentric circles of brass dots (ten-zōgan) and brass inner circular line. Sukashi elements outlined in brass.
Late Muromachi period. Diameter: 82.4 mm; Thickness: 3.0 mm The triple lozenge (or diamond) is similar to the one on TSU-305 from Sasano Collection # 15. Very old motif; as Sasano remarks in his book "...represents the unstable political situation at the time".Kokusai Tosogu Kai 5th International Convention & Exhibition, October 28-30, 2009 at NEZU Museum, Tokyo, Japan, on page 83 provides the following explanation of the triple diamond symbol: "The pine bark is the form of the Diamonds, "Bishi", mon, seen from Nara period, found on cloth stored in the Shoso In, and used primarily by the Takeda family. The form of Bishi mon [similar to ours] is called "Chu Kage Matsukawa Bishi", (Middle Shaded Pine Bark Diamond)."
A combination of hatchet (usually an axe) and a triple diamond (Matsukawabishi) alludes to the Nō play Hachi-no-ki (ref: Iron tsuba. The works of the exhibition "Kurogane no hana", The Japanese Sword Museum, 2014; AND Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection. By Sasano Masayuki. Part One. Published in Japan in 1994. -
Iron tsuba of round form with design of lattice (kōshi-mon, 格子文) cut in openwork (sukashi), with low relief shallow linear carving along the bars. Well forged plate with brown-ish hue. To the right of nakago-ana there is a clear inscription of the character Shō (正), which is explained by Markus Sesko is follows: "The Shinsa obviously recognized more from the signature when having the tsuba in hand, i.e. they were confident to say it is signed "Shōami" but the rest is illegible (ika-fumei, 以下不明). That is, if they were just able to read the first character SHŌ (正) and saw that there were two more, most likely A (阿) and MI (弥), they would have put those character in boxes on the paper. Boxes around characters namely means that the character is not 100% legible but it can be assumed what it is." Momoyama or early Edo period. Dimensions: 85.9 mm diameter, 3.6 mm thickness at seppa-dai. Weight: 79 g. NBTHK certificate № 425069 with attestation: Hozon - "Worthy of preservation". A similar tsuba is presented at Japanese Sword Fittings from the R. B. Caldwell Collection. Sale LN4188 "HIGO". Sotheby's, 30th March 1994, №15. The description says: "A rare early Kamakura-bori tsuba. Nambokucho period (late 14th century). Of circular form, the dark plate carved and pierced with a gate design, the struts with double engraved lines. Unsigned. 8.5 cm." The lot was sold for 1,840 GBP.We have two possible explanations of the discrepancy between Sotheby's and Shinsa/Sesko attribution: 1) either Sotheby's or Shinsa/Sesko were wrong in their attribution or 2) these are two different pieces, one - Kamakura-bori from the 14th century and another - Shōami from 16th/17th century. Anyway, I would consider my piece as a Shōami tsuba of Momoyama - early Edo period, just for the sake of modesty.
Caldwell Collection. Sotheby's 1994, №15.
-
Ancient Greek glazed terracotta kylix (cup with a shallow bowl and a stem), ca. 350 BC. Dimensions: 14.4 x 11 cm The primary use for the kylix was drinking wine (usually mixed with water, and sometimes other flavourings) at a symposium or male "drinking party" in the ancient Greek world, so they are often decorated with scenes of a humorous, light-hearted, or sexual nature that would only become visible when the cup was drained. -
Heianjō tsuba, carved and inlayed in brass with a somewhat primitive design of rocks, plants, and waves, and a man in a boat beside two jakugo stone baskets on the face and a religious structure (stupa, grave stone) on the reverse. Muromachi or Momoyama period.Size: 83.2 x 82.4 x 3.6 mm; 149.2 g
The Carlo Monzino Collection of Japanese sword fittings and swords (Sotheby's, London, 18 June 1996. p. 12-13) №9 provides an illustration of the similar tsuba with the following description: Heianjo tsuba, carved and inlayed with rocks, plants, and waves, also pierced with a jakago [sic] (stone basket).
Gary D. Murtha in his Japanese sword guards Onin - Heianjo - Yoshiro (GDM Publications, 2016) on page 53 shows a look-a-like tsuba (though, with a kogai-hitsu-ana) with the follwoing description: Iron, 77 mm, tsuba with brass tree, snake, jakugo baskets, and curved brass pieces (representing water flowing over rocks). Buddhist halo to reverse. Although showing Onin traits, a Shoami Heiamjo attribution would fit better. Azuchi-Momoyama period.
-
Iron tsuba of oval form decorated with design of jakago (bamboo lattice work) in openwork (sukashi). Copper sekigane.
Unsigned. Edo period.
Size: 73.7 x 70.3 x 5.6 mm.Note regarding design: though some might think that this piece belonged to a member of the lost tribe of Israel, it did not. Jakago baskets were made of bamboo, filled with rocks and used to catch crabs (besides other uses).
Jeanne Allen. Designer's Guide to Samurai Patterns. Chronicle Books, San Francisco, 1990; p.51, №57.
-
Mikhail Belomlinsky. Born 1934, Russia. Village, dogs. Watercolor painting on paper from Chukotka expedition, 1975. Size: 36 x 48 cm. -
Netsuke with a design of a laughing peasant carrying a basket and holding a giant mushroom in his right hand.
18th century Dimensions: 55.7 mm tallUnsigned. According to Merrily Baird (Symbols of Japan, page. 93): ... This prominent use in the symbol-rich netsuke art form, however, reflects more their sexual symbolism than either their dietary appeal or interesting shapes. Mushrooms in Japan are generally a symbol of fertility, with some flat varieties, like shiitake, being associated with females. In contrast, the matsutake mushroom (Armillaria edodes) is a phallic symbol, as befits its thick, spearlike stem and the fact that it is consumed before cap opens.
Female Daruma Riding a Mushroom [女達磨]. Ippitsusai Bunchô (1765–1792). MFA impressions: 11.18513, 21.4758
-
Quinze poèmes d'Emile Verhaeren. Illustrés de 57 gravures sur bois dessinées et gravées par Frans Masereel et suivis d'un 'Souvenir à Verhaeren' par Octave Uzanne. — Paris: Éditions Georges Crès, 1917. Authors: Emile Verhaeren (text), Frans Masereel (illustrations), Octave Uzanne (text). Publisher: Éditions Georges Crès. [Georges-Célestin Crès (1875 - 1935) was a French publisher and bookseller. Address: 116 boulevard Saint-Germain, Paris]. Printer: Sonor S.A. - Geneve, under the direction of Auguste Jordanis. The number of copies printed: 1555 of which 15 (1-15) on Japan paper, 190 (16-205) on Fabriano paper, and 1350 (206-1555) on English paper (1506-1555 not for trade). This copy № 1312. Pagination: [i] - front cover, [ii] - half-title, [iii] - title, [iv] - printrun justification, [v] - table of contents, [vi] - blank, [i-vii] viii-ciii, [civ] - printer statement, [cv] - back cover; one-side (recto) printing and pagination. Owner's contemporary red half-Morocco with marbled boards; spine with four raised bands, gilt lettering and design elements. Original printed paper wrappers preserved. Marbled endpapers. Trimmed unevenly. -
Comte de Tressan. L'évolution de la garde de sabre japonaise de la fin du XVe siècle au commencement du XVIIe (suite), 34 illustr. – pp. 7-35. // Bulletin de la Société Franco-Japonaise de Paris; №№ 19-20, Juin–Septembre 1910, 216 p. — Paris: Société Franco-Japonaise de Paris, Siège Social, 1910. Publisher's original green wrappers with black lettering: On top: Paraissant trimestriellement. | JUIN | SEPTEMBRE | } 1920 | XIX-XX | In the middle: BULLETIN | de la | Société Franco-Japonaise | de Paris | [—] Fondée le 16 Septembre 1900 | [device] | Bottom: Siège Social : | PALAIS DU LOUVRE — PAVILLON DE MARSAN | 107, RUE DE RIVOLI, 107 | Paris | 1910 | Prix : 4 fr 50 c || — Pp.: [4] [1-5] 6-216 [2 - errata / blank] [2 - imprim./ blank] [6]. Size: 27 x 17.5 cm. -
Title: THE | WORKS | OF THE FAMOUS | Nicholas Machiavel, | CITIZEN and SECRETARY | OF | FLORENCE. |—| WRITTEN | Originally in ITALIAN, and from thence newly | and faithfully Tranſlated into ENGLISH. |—|[ornament]|—| LONDON, | Printed for John Starkey, Charles Harper, and John | Amery, at the Miter, the Flower-de-Luce, and the | Peacock, in Fleetstreet. 1680. Content: (1) The history of Florence; (2) The Prince; (3) The Original of the Guelf and Ghibilin Factions; (4) The Life of Castruccio Castracani; (5) The Murther of Vitelli, etc. by Duke Valentino; (6) The State of France; (7) The State of Germany; (8) The Discourses on Titus Livius; (9) The Art of War; (10) The Marriage of Belphegor, a Novel; (11) Nicholas Machiavel's Letter in Vindication of Himself and His Writings. Pagination: ffl, 24 unnumbered pages before the first numbered: [2] – tp / license], [2] – contents / blank], [2] ftp “Florence” / blank, [3] – epistle to Clement VII, [3] – introduction, [12] – table; Misnumbering (X instead of Y format – X/Y): History of Florence: 1- 28/24, 19/91, 198/98, 180/108, 190/109, 174/164, 175/ 165, 179/169, 180/170, 185/175, 186/176, 188/178, 189/179, [190/180 blank]; The Prince, Lucca, State of France: [4] 199-262; State of Germany: 256/263, 266/264, 267/265 [268/266]; Discourses: [4] 267-314, 317-431 [432]; Art of War: [4] 433-528; [4] – publisher, [12] –Machiavelli’s letter, bfl. Collation: π3 Aa3 b-d2 B-Z4 Aa-Bb2 Cc-Zz4 Aaa-Yyy4 (*)-(**)4 Binding: Original mottled leather boards with embossing, later leather spine with 5 raised bands, crimson label with gilt lettering. Size: 32.4 x 21.0 x 4.0 cm Provenance: Bradford H. Gray This is the second edition; despite misnumbering, the collation is correct and all pages present. The first edition of this book was published in 1675 by Robert Bolter (British, fl. 1666 – 1683). -
Title-page in black and red: LE | SOPHA, | CONTE MORAL. | NOUVELLE EDITION. | PREMIERE PARTIE. | {vignette} | A PEKIN, | Chez l'imprimeur de l'Empereur, | 1749. || Pagination: Two volumes in one. [2] – blanks, [2] – blank / frontis., [i, ii] – t.p. / blank, [iii] iv-xxi [xxii] ; [1] 2-253, [254-256] – table / blank, [2] – blanks; [i, ii] f.t. (seconde partie). [iii] 4-237 [238-240] – table / blank, [2] – blanks ; ills. 1 frontispiece, 4 plates and 2 vignettes by Pelletier after Clavereau, 2 fleurons by Fessard after Cochin. Collation: 12mo; a12, A8B4–T8V4, X8 [*1]; A8B4–T8V4. Binding: Full mottled calf, flat spine, compartments double-ruled in gilt, gilt flowers and foliage in compartments, crimson title label; marbled endpapers. Printed on laid paper, watermarked. Size: 14.8 x 8.8 cm Catalogue raisonné: Cohen, de Ricci (266); J. Lewine (124-5). -
Казанова Д. Истрия моей жизни. — М.: Моск. рабочий, 1991. — 734 с. Составление, вступительная статья, комментарии А. Ф. Строева. Перевод И. К. Стаф, А. Ф. Строева, 1990. ISBN: 5—239—00590—7 Original title: Giacomo Casanova. Histoire de ma vie. -
A CATALOGUE OF AN EXHIBITION | OF | The Philip Hofer Bequest | IN THE DEPARTMENT OF | PRINTING AND GRAPHIC ARTS | {white in crimson cartouche The | Philip Hofer | Collection | in the | Houghton | Library} | HARVARD COLLEGE LIBRARY | CAMBRIDGE, MASSACHUSETTS | 1988 || Printed by Meriden-Stinehour Press; Roderick Douglas [Rocky] Stinehour (American, 1925 – 2016) and his son Stephen Stinehour, The Stinehour Press in Lunenburg, Vermont. The Meriden Gravure Company in Meriden, Connecticut, was founded in 1888 by Charles Parker and James F. Allen. In 1977, the Meriden merged with the Stinehour Press, and in 1989, the Meriden operations were closed and the Meriden Gravure presses moved to the Vermont location. Pagination: [i-vi] – incl. h.t., t.p., f.t., vii-xiv, [1] 2-218, 100 plates, within pagination, incl. bibliography, index. Binding: Original grey paper wrappers with title printed in red and white.
