/Collection
  •

    Utagawa Kunisada. Tamagiku, from the series ‘Chronicles of Elegant Women’ / Fan print, 1859.

    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: 彫竹 – hori Take. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Media: Untrimmed fan print (uchiwa-e), 232 x 300 mm. Title: Tamagiku [玉菜]. Series: Chronicles of Elegant Women [風雅女史傳] (Fūga joshiden). Combined date seal and kiwame censor seal: Ansei 6 (1859). Other prints from the same series in this collection [SVJP-0216.2016] — Princess Sotoori: SVJP-0400.2023 — Saiko:   Note by Elena Varshavsky: Tamagiku [玉菜] (Japanese, 1702 – 1726) – Precious Chrysanthemum (translated also as Jade Chrysanthemum; one can say also Gem Chrysanthemum). She was a courtesan famous for her beauty, kind heart, and countless artistic accomplishments. She died young and was deeply grieved by the establishment of Nakamanji-ya (中万字屋) for which she worked, and beyond. Her memory was celebrated during the Bon festival of the commemoration of the dead, and lanterns were hung at the gallery of that establishment and other neighbouring ones to commemorate her and appease her soul. These lanterns are seen behind her. Kabuki plays were continuously dedicated to her, she figured in Edo period literature and was often portrayed on ukiyo-e prints. In many cases, she was shown with the lanterns associated with her. Those lanterns were called “Tamagiku Lanterns”. Other depictions of Tamagiku:

    Tamagiku (Ancient and modern women's biography) by Kunisada, 1859.

     

    Courtesan Tamagiku by Kunichika.

     

    Tamagiku of the Nakamanjiya, Inaki Shinnojō, and Nakamanjiya Yahei (looking through the window) by Kunisada.

     

    Nakamanji-Ya Tamagiku by Kunisada

     

    Nakamanji-Ya Tamagiku by Kunisada, 1857

    Sources: darumapedia; kajiipeta; kabuki21; crosseyedgallery.  
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  • Kamakura-bori tsuba with design of a dragon. Muromachi period, c. 1450.

    Iron tsuba of round form, on both sides decorated in low relief (kebori) with a dragon, eyes inlaid in brass. NBTHK: Hozon, № 4011013. Kamakura-bori type of tsuba. Med-Muromachi period, c. 1450. Diameter: 90 mm; Thickness (centre): 3.3 cm, Thickness (rim): 2.4 cm Reference: Japanese Swords and Sword Fittings from the Collection of Dr Walter Ames Compton (Part I). — NY: Christie's, 1992, p. 10, №2. Obviously, Compton's tsuba has an altered nakago-ana and placed on the photo upside down. Compton's tsuba has a raised mimi, while mine does not. Two other examples of the same design may be found at: (1) Christie, Manson & Woods auction sales “Kotetsu”, 1980, page 12, №10 and (2) Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections №36, pp. 18-19. Both have raised mimi, the latter classified as Katchushi tsuba. More about Kamakura-bori tsuba here.  
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  • И. М. Троцкий. III-е Отделение при Николае I; Жизнь Шервуда-Верного. / Публ. подг. Я. А. Гордин. — Л.: Лениздат, 1990.

    Front wrapper: Историческая библиотека | Хроника трех столетий | Петербург – Петроград – Ленинград | И. Троцкий | III-е Отделение при Николае I | 3 | июля | 1826 года || Title: И. Троцкий | III-е Отделение при Николае I || Faux title (p. 75) : Жизнь | Шервуда-Верного || Pagination: [1-5] 6-317 [3]; 320 pages. Collation: 16mo; [1]16 2-1016; 160 leaves. Binding: Softcover, original pictorial wrappers. Print run: 150,000 copies. Contributors: Исаак Моисеевич Троцкий (Russian-Jewish, 1903 – 1937) – author of the text. Яков Аркадьевич Гордин (Russian-Jewish, b. 1935) – foreword, preparation.
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  • Pierre-Jean de Béranger. Chansons galantes / Ornées de 16 aquarelles par Rojan. — Paris: Éditions de la Belle Étoile, 1937.

    Cover (in red and black): BÉRANGER | CHANSONS | GALANTES | {vignette} || Title page (in red and black): BÉRANGER | CHANSONS | GALANTES | ORNEES DE 16 AQUARELLES | PAR | ROJAN | {vignette} | ÉDITIONS DE LA BELLE ÉTOILE | PARIS || Pagination: [2] – front wrapper, [2] – blank, [1-4] 5-157 [3] [2] blank, [2] – back wrapper; the total number of pages 168 + 16 plates, numerous in-text head- and tailpieces in black. Collation: 4to; [1] 2-214, wrapped leaves included in collation; the total number of leaves 84 + 16 plates. Colour illustrations: 16 full-page colour plates and 4 colour headpieces are produced by the so-called Duval-Beaufumé process (collotype and stencil) of reproductions after Rojan’s watercolours. Tirage: Limited edition of 1500 copies, of which this is № 1434. Binding: Publisher's French flapped cream wrappers with red and black lettering to front wrapper and black lettering to spine, wove paper (vélin Navarre), uncut. Size: 243 x 195 mm. Contributors: Béranger, Pierre-Jean de (French, 1780 – 1857) – author. Rojankovsky, Feodor [Rojan; Рожанковский, Фёдор Степанович] (Russian-American, 1891 – 1970) – artist. NOTE on technique: Micro-photography reveals that this is not a collotype but some sort of photochemical reproduction method, such as a halftone screen. The colour was applied with a stencil, indeed.
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  • Gordon Norton Ray. The Illustrator and the Book in England from 1790 to 1914 / Bibl. descript. Thomas V. Lange, photo. by Charles V. Passela. The Pierpont Morgan Library, Oxford University Press. — Oxford : Oxford Univ. Pr., 1976. — pp.: [i-viii] ix-xxxiii [1], [1-2] 3-336 [4], illustr.

    Gordon N. Ray. The Illustrator and the Book in England from 1790 to 1914. — New York: Pierpont Morgan Library; London: Oxford University Press, © 1976.

    Title page: The | Illustrator | and the Book | in England | from | 1790 to 1914 | Gordon N. Ray | The Pierpont Morgan Library | Oxford University Press || Pagination: [i-viii] ix-xxxiii [xxxiv], [1-2] 3-336 [4], illustr. Binding: 30.5 x 23.5 cm; publisher’s blue cloth, gilt lettering in a figural frame to front, gilt lettering to spine, pictorial endpapers. Ex-lib (University of Virginia). Contributors: Ray, Gordon Norton (American, 1915 – 1986) – author. Lange, Thomas V. – formal bibliographical description. Passela, Charles V. – photography. The Pierpont Morgan Library – Copyright © 1976
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  • Masterpieces of French Faience: Selections from the Sidney R. Knafel Collection / Charlotte Vignon with Sidney R. Knafel. — NY: The Frick Collection, London: D Giles Limited, 2018.

    Title: Masterpieces | of French Faience | SELECTIONS FROM THE | SIDNEY R. KNAFEL COLLECTION | Charlotte Vignon | with Sidney R. Knafel | The Frick Collection, New York | in association with D Giles Limited, London | {device} || Pagination: [1-6] 7-72. Contributors: Charlotte Vignon (American, b. c. 1975) – Curator of Decorative Arts at The Frick Collection. Sidney R. Knafel (American, b. c. 1950) – Collector.
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  • Torquato Tasso. Il Goffredo, overo Gierusalemme liberata, poema heroico / 2 volumes. — Amsterdam: Daniel Elsevier; Paris: Thomas Jolly, 1678.

    Vol. 1: Engraved t.p.: An architectural setting with flags and arms, and sitting male and female figures in armour, perhaps representing Tancredi and Clorinda, with lettering above their heads: “GIERVSA– | LEMME | LIBERATA”. Title-page: IL | GOFFREDO, | OVERO | GIERUSALEMME | Liberata , | POEMA HEROICO | del Sig. Torquato Tasso. | CON L’ ALLEGORIA | Universale dell istesso, | Et con gli Argomenti del Sig. Horatio Ario- | sti, & di belissime figure adornato. | {woodcut element} | In Amsterdam, nella Stamperia del S.D. ELZEVIER, | Et in Parigi, si vende | Appresso Thomaso Jolly. | Nel Palazzo, M. DC. LXXVIII. || Collation: 8vo; [A1] 1st blank, engraved t.p., [A2] letterpress t.p., pp. [1-4]; signatures start at A3, pagination starts at p. 37; Allegoria: A3-B1, pp. [5-18], Tavola: B2-C2, pp. [19-36]; Il Goffredo: C3-R8, pp. 37-271 [272]. Total A-R8: 136 leaves (272 pages), plus 11 plates, incl. engraved t.p., and frontispiece (sculptural bust portrait of Torquato Tasso in a laurel wreath, with a lettered plate below “TORQVATO | TASSO”). Vol. 1: Title-page: Similar but “TOMO II.” after “sti, & di belissime figure adornato.” and before the woodcut element. Collation: 8vo; 1st blank, letterpress t.p., signatures start at A3, p. 5; A-S8, pp. [4] 5-285 [3]. Total A-S8: 144 leaves (288 pages) plus 10 engraved plates. Binding: Two volumes 15 x 6 cm, uniformly bound in 19th-century green morocco, gilt triple-fillet border, bull heads at corners, spine with raised bands, gilt in compartments, two gilt-lettered crimson labels, blue endpapers, 2 blank laid paper leaves in the front, AEG. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Daniel Elzevir (Dutch, 1626-1680) – publisher. Thomas Jolly (French, fl. 1648 – 1694) – publisher.
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  • Colette. Claudine à l’école. – Claudine à Paris. – Claudine en ménage. – Claudine s’en va / Illustrée par Renée Ringel (4 volumes, Collection “Leurs Chefs-d’Oeuvre”). — [s.l.]: Aux Éditions Terres Latines, c. 1950.

    (1) Claudine à l'école: 1st blank and limitation leaves uncut, t.p. / blank ; [1-6] 7-206 [2], colophon "IMPRIMÉ EN BELGIQUE"; 208 pages (104 leaves) plus 12 plates. COLETTE | Claudine | {vignette} | à l'école | ILLUSTRÉE PAR | RENÉE RINGEL | « Leurs Chefs-d'œuvre » | AUX ÉDITIONS TERRES LATINES || (2) Claudine à Paris: 1st blank and limitation leaves uncut, t.p. / blank ; [1-6] 7-153 [3], colophon "IMPRIMÉ EN BELGIQUE"; 156 pages (78 leaves) plus 12 plates. COLETTE | Claudine | {vignette} | à Paris | ILLUSTRÉE PAR | RENÉE RINGEL | « Leurs Chefs-d'œuvre » | AUX ÉDITIONS TERRES LATINES || (3) Claudine en ménage: 1st blank and limitation leaves uncut, t.p. / blank ; [1-6] 7-150 [2], colophon "IMPRIMÉ EN BELGIQUE"; 152 pages (76 leaves) plus 12 plates. COLETTE | Claudine | {vignette} | en ménage | ILLUSTRÉE PAR | RENÉE RINGEL | « Leurs Chefs-d'œuvre » | AUX ÉDITIONS TERRES LATINES || (4) Claudine s'en va: 1st blank and limitation leaves uncut, t.p. / blank ; [1-6] 7-128 [4], colophon "IMPRIMÉ EN BELGIQUE"; 132 pages (66 leaves) plus 12 plates. COLETTE | Claudine | {vignette} | s'en va | ILLUSTRÉE PAR | RENÉE RINGEL | « Leurs Chefs-d'œuvre » | AUX ÉDITIONS TERRES LATINES || Illustrations: in each volume, there are 12 plates extraneous to collation, incl. frontispiece, stencil-coloured (au pochoir) collotype reproductions after drawings by Renée Ringel, and numerous in-text b/w illustrations. Binding: 4 volumes uniformly bound in French flapped pictorial wrappers, spine with lettering and vignette, each in a canvas double slipcase 22 x 17.5 cm, with lettering to spine. Edition: Limited to 1800 copies, of which this is copy № 365, printed by Jean de Clercq, plates printed by Thill, colouring by Ateliers du coloris d’art. Contributors: Sidonie-Gabrielle Colette [a.k.a. Colette] (French, 1873 – 1954) Renée Ringel – nothing is known so far.
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  • Losing my seat. [Anonyme] A. Sharpshooter, 1829.

    Hand-coloured etching by an anonymous British artist, printed on May 26, 1829, in London. Description by British Museum (1868,0808.8988): "O'Connell, in wig and gown, walks to the left from the massive door of a small stone building, stooping, and holding his handkerchief to his right eye. He wails: 'O, my poor Seat! my poor Seat! my poor Seat! I'd have given any thing for a seat.' In the doorway (right) stands Peel, saying with wary blandness: 'What good can weeping do you Dan.—I'm sure I did as much as I could!!' Above the large knocker on the plank door is 'Knock & Ring'. There is a projecting bell, above a placard: 'NB. Jews or Proselytes desirous of Obtaining Seats in the House may Knock and Ring at this Door.' One corner of "the House", a small stone shed, is depicted. O'Connell is walking towards a strip of water, across which is a mountain, with a board pointing 'To — Clare'. Comment by BM: "Catholic Emancipation raised high hopes among Jews; the first Bill, after a petition from Jews in Liverpool, was introduced 15 Apr. 1830, but Jewish Emancipation did not become law till 1858." Inscription under the frame with title, "A. Sharpshooter fec", text within image and publication line: "Pub. by G. Humphrey, 24 St. James's Street May 26 1829". Size: 37.5 x 26 cm.
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  • Alexandre de Vesme. Stefano della Bella. Catalogue Raisonné / with Introduction and additions by P. D. Massar (2 volumes). — NY: Collectors Editions, 1971.

    Two volumes, one with text, another with plates, 31.9 x 24.2 cm each, uniformly bound in bead-grain grey cloth, silver lettering to spine, black label with gilt lettering. Title-page: STEFANO DELLA BELLA | Catalogue Raisonné | Alexandre De Vesme | with | Introduction and Additions | by | Phyllis Dearborn Massar | — | TEXT (PLATES) | — | {publisher’s device} |Collectors Editions || Text: [i-vi] vii-viii [1-2] 3-230 [2], ils. Plates: [6] [1-3] 4-241 [242]. Contributors: Stefano Della Bella (Italian, 1610 – 1664) Alessandro Baudi di Vesme [Alexandre de Vesme] (Italian, 1854 – 1923) Phyllis Dearborn Massar (American, 1916 – 2011)
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  • Geisha: Beyond the painted smile / Edited by the Peabody Essex Museum. — [New York]: George Braziller; Salem, MA: Peabody Essex Museum, ©2004.

    Description: one volume, 31.3 x 23.8 cm, bound in crimson cloth with gilt lettering to spine, in a pictorial dust jacket, lettered to front: GEISHA | {image} | Beyond | the | Painted | Smile | {image} || Title-page: GEISHA | Beyond | the | Painted | Smile | edited by the | Peabody Essex | Museum | published by | George Braziller, Inc. | in association with the | Peabody Essex Museum || Pagination: 1-159 [160], ils. Contributors: Lisa Dalby, Lesley Downer, Arthur Golden, Peter M. Grilli, Money L. Hickman, Allen Hockley, Andrew L. Maske, Yoko Yamamoto.
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  • Erich Godal [Erich Goldbaum]. Jo gewidmet / Album of etchings, c. 1925.

    Half calf binding 33.5 x 25 cm, gilt lettering within rules “GODAL | JO”, engraved title-page and 9 etchings printed in sepia on sheets 32.5 x 24 cm of thick wove paper, pencil signed, presumably, by the artist; a newspaper clipping tipped-in. The number of copies is unknown. Ticket to front pastedown: "Haeusgen |8 München 90 | Reinekestrasse 36" According to seller: “Extraordinarily rare series of erotic original etchings. - Cf. Bilderlexikon II, 451 u. Vollmer II, 261 - According to KVK not in any library”. Contributors: Erich Godal [Erich Goldbaum] (German-Jewish, 1899 – 1969) – artist.  
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  • Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004.

    One hardcover volume, 30.2 x 25.3 cm, in red cloth blind stamped to front and spine with lettering, in pictorial dust jacket; pp.: [1-4] 5-359 [360], total 180 leaves, profusely illustrated. Subject: Japan; Theatre; Kabuki theatre; Kabuki actors; Woodblock prints. Contributors: Arendie Herwig (Dutch, fl. 2002 – 2016); Henk Herwig (Dutch, fl. 2002 – 2017).
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  • Keisai Eisen: Seven paintings / Catalogue 13, Exhibition September 15-19, 2009. — NY: Sebastian Izzard LLC, 2009.

    Softcover, in pictorial flapped wrappers, 28 x 21.7 cm, 7 entries, with colour illustrations. Catalogue # 13 of the sales exhibition on September 15-19, 2009 in NY; pagination: [1-3] 4-38 [2], ils. Contributor: Sebastian Izzard
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  • [Feodor Rojankovsky, dit Rojan]. Quatorze études originales pour Vers Libres de Raymond Radiguet, c. 1935.

    Portfolio of 14 original watercolour illustrations for Vers Libres by Raymond Radiguet. Painted on wove paper of different sizes, each mounted in a passe-partout 39,5 x 33 cm and enclosed in a flapped portfolio with a white label to front cover lettered "14 études originales | pour | VERS LIBRES | de | Raymond Radiguet | par | ROJAN". For published versions see:
    1. [LIB-2830.2021] Raymond Radiguet. Vers libres / [Illustrés par Rojan]. — Champigny: Au Panier Fleuri [i.e. Paris, René Bonnel, c. 1935].
    2. [LIB-2827.2021] Raymond Radiguet. Vers libres / Illustrés par Rojan. — Nogent: Au Panier Fleuri [i.e. Paris, c. 1937].
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  • Utagawa Yoshitsuya .

    Utagawa Yoshitsuya. Waves off Shinagawa / Fan print, 1849.

    Artist: Utagawa Yoshitsuya [歌川 芳艶] (Japanese, 1822 – 1866). Publisher: Kojimaya Jūbei [小島屋重兵衛] (Japanese, c. 1797 – 1869). Date seal and double nanushi censor seals: Kunigasa & Yoshimura, Kōka 5 (1849). Signed: Ichieisai Yoshitsuya ga [英斎芳艶画] in a red double gourd cartouche. Two men are fishing with a net off the coast of Shinagawa, in the Edo Bay.
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  • E. Cresson. Cent jours de siège à la préfecture de police: 2 novembre 1870 – 11 février 1871. — Paris: Plon-Nourrit et Cie., 1901.

    Title-page: E. CRESSON |—| CENT JOURS DE SIÈGE | A LA | PRÉFECTURE DE POLICE | 2 NOVEMBRE 1870 — 11 FÉVRIER 1871 | {publisher’s device} | PARIS | LIBRAIRIE PLON | PLON-NOURRIT ET Cie, IMPRIMEURS-ÉDITEURS | RUE GARANCIÈRE, 8 | 1901 | Tous droits réservés || Description: 8vo, 22 x 14.5 cm, quarter brown calf over marbled boards, flat spine with gilt fillets, gilt lettering, marbled endpapers; inscriptions to t.p.: 2117 A | Ba V –1 1bis 3; ink stamps to t.p.: (1) « LÉGION DE LA GARDE REPUBLICAINE | BIBLIOTÈQUE | des Sous-Officiers | Brigadiers et Gardes | DE L’INFANTERIA | NAPOLEON » ; (2) « LÉGION DE LA GARDE REPUBLICAINE | BIBLIOTÈQUE | DE LA CASERNE | DU | PRINCE-EUGÈNE | (hand) XIII | XX—86 » Collation: 8vo; π6 1-248 252, total 200 leaves. Pagination: [2] [i-v] vi-x, [1] 2-385 [3], total 400 pages. BNF: ark:/12148/bpt6k4936n Author: Ernest Cresson (French, 1824 – 1902)
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  • A.-R. Andréa de Nerciat. Félicia ou mes fredaines / Illustré par Louis Icart. — Paris: Georges Guillot, 1947. [№ I, enriched].

    Unbound volume in publisher’s wrappers, lettered in red “FELICIA | ou | mes fredaines”, in 29.7 x 23.6 cm purple and blue diaper cloth double-slipcase with a lettered label, 52 leaves folded in half, first and last blank leaves within the wrappers, pagination: [8] 1-186 [2] [4] (200 pages total); illustrated with 20 coloured etchings after watercolours by Louis Icart (signed), plates within collation, 8 b/w tail-pieces and coloured initials; the edition enriched with an original watercolour, an etched copperplate, and two suites of plates, one in black and one in sanguine. Edition printed on thick wove paper, margins untrimmed. Title-page (purple and black): ANDRÉA DE NERCIAT | Félicia | ou | Mes fredaines | ILLUSTRÉ | DE VINGT EAUX-FORTES ORIGINALES EN COULEURS | PAR | LOUIS ICART | GEORGES GUILLOT, ÉDITEUR | 7, RUE PERRONET | PARIS || Limitation: a print run of 500 copies numbered 1 to 500 plus 30 copies “exemplaires d’artiste, numbered I to XXX, of which this is number I. Catalogue raisonné:William R. Holland (1998): pp. 152-164. Ref.: [LIB-2785.2021] William R. Holland. Louis Icart: Erotica (A Schiffer book for collectors). — Atglen, PA: Schiffer Publishing Ltd., © 1998. Printed by Joseph Zichieri (text) and Manuel Robbe (etchings). Contributors: André-Robert Andréa de Nerciat (French, 1739 – 1800) – author. Louis Icart (French, 1888 – 1950) – artist. Solange et Georges Guillot, éditeurs – publisher (7, rue Perronet, Paris) Joseph Zichieri (Grench, mid-20th century) – printer. Ateliers en taille-douce de Manuel Robbe (French, 1872 – 1936) – engraver/printer. Watercolour: Copperplate:
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  • В. Б. Сабунаев. Занимательная ихтиология. — Л.: Детская литература, 1967.

    Hardcover, 20.5 x 13.5 cm, quarter cloth, pictorial boards, pp.: [2] 3-253 [3], ils., collated in-8vo: 1-188, total 128 leaves plus 2 leaves of colour plates. Title-page: В. САБУНАЕВ | ЗАНИМАТЕЛЬНАЯ | ИХТИОЛОГИЯ | {vignette} | ИЗДАТЕЛЬСТВО | “ДЕТСКАЯ ЛИТЕРАТУРА” | 1967. Print rub: 50,000 copies. Сабунаев, Виктор Борисович (Russian, 20th century) – author. Бианки, Елена Витальевна (Russian, 1922 – 2009) – artist.  
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  • В. В. Крылов, Е. В. Кичатова. Издательство «Academia»: Люди и книги. 1921-1938-1991 / Под общ. ред. В. А. Попова. — М.: Academia, 2004.

    Hardcover, 20.7 x 13 cm, paper boards and spine, silver and gilt lettering, pictorial endpapers, pp.: [1-5] 6-321 [5] [10 advert.], in-text ill., total 336 pages plus 12 (8+4) leaves of plates. 944 entries (1921-1938), plus a list of new books published between 1991 and 2004. Title-page: В. В. Крылов | Е. В. Кичатова | ИЗДАТЕЛЬСТВО | «ACADEMIA» | ЛЮДИ И КНИГИ | 1921 ~ 1938 ~ 1991 | Под общей редакцией | В. А. Попова | ~ | {publisher’s device} | Москва | 2004 || Print run: 2,000 copeis. Contributors: Крылов, Вячеслав Викторович (Russian, 1940 – 2005) Кичатова, Екатерина Вячеславовна (Russian)  
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  • Camille Lemonnier. Félicien Rops, l’homme et l’artiste (Études sur quelques artistes originaux) / Exemplaire truffé de 39 estampes originales. — Paris: H. Floury, 1908.

    One volume in-4o, 26.5 x 21 x 4 cm, bound by Durvand (signed) in tan quarter morocco over marbled boards, spine with raised bands and gilt lettering, top margin gilt, marbled endpapers, publisher’s wrappers preserved; enriched with 39 original prints after Félicien Rops. Collation: 2 blanks, π5 (original front wrapper ‘Canicule’/blank, 2 blanks, h.t./justification, t.p/blank), 1-294 301 (paginated 1-233 [234]) χ1 (advert.) plus frontispiece (photographic seated portrait of Félicien Rops, collotype, artist unknown) and 39 leaves of bound-in original prints by various printers on different papers, with tissue guards; back wrapper and original spine, 2 blanks; loosely inset a marriage invitation for Dr Robert Fasquelle and Mlle Suzanne Luneau with a partial list of prints, incl. page numbers. Title-page (red and black): Études sur quelques Artistes originaux | — | FÉLICIEN ROPS | par | CAMILLE LEMONNIER | {fleuron} | PARIS | H. FLOURY, ÉDITEUR | 1, Boulevard des Capucines, 1 | – | 1908 || Limitation: 125 copies with two original plates «Canicule» and «Seule» numbered 1-125, of which 100 copies on Japon à la forme, 25 copies on papier de Chine; plus 50 copies on papier vélin with one coloured plate «Canicule», numbered 126-175, printed by Edmond Deman in Brussels. Our copy is on dense wove paper (vélin), without a number. Photographs here represent the original prints only. Camille Lemonnier (Belgian, 1844 – 1913) – author. Félicien Rops (Belgian, 1833 – 1898) – artist. Henri Floury (French, 1862 –1961) – publisher. Edmond Deman (Belgian, 1857–1918) – printer. Lucien Durvand (French, 1852 – 1924) – bookbinder.
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  • Уолт Уитмен. Листья травы / Пер. с англ. Вступ. статьи К. Чуковского и М. Медельсона. — М.: Государственное издательство художественной литературы, 1955.

    Hardcover volume, 22.8 x 15.5 cm, bound in green buckram with blind stamped designs and gilt lettering to front cover and spine, blind lettering to back, pp.: [2] 3-354 [2], photo portrait frontispiece; collated in 8vo: 1-218 2210, 178 leaves (356 pp.) Title-page (green and black): УОЛТ УИТМЕН | ЛИСТЬЯ ТРАВЫ | {vignette} | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО | ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЫ | МОСКВА 1955 || Original: Walt Whitman. Leaves of Grass see LIB-3111.2022. Contributors: Walter [Walt] Whitman (American, 1819 – 1892) – author/poetry. Korney Chukovsky [Корней Иванович Чуковский, Николай Корнейчуков] (Russian, 1882 – 1969) – translator, author/foreword. Морис Осипович Мендельсон (Jewish-Russian, 1904 – 1982) – author/foreword. Translators: Николай Васильевич Банников (Russian, 1918 – 1996) Михаил Александрович Зенкевич (Russian, 1886 – 1973) Иван Александрович Кашкин (Russian, 1899 – 1963) Анатолий Васильевич Старостин (Russian, 1919 – 1980) Дмитрий Александрович Горбов (Russian, 1894 – 1967) Мария Фёдоровна Лорие (Russian, 1904 – 1992) Вильгельм Вениаминович Левик (Jewish-Russian, 1906 – 1982)
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  • Muneshige Narazaki, Sadao Kikuchi. Utamaro [歌麿] / Translation by John Bester (Masterworks of ukiyo-e, №4). — Tokyo; Palo-Alto, CA: Kodansha International, ©1968.

    Hardcover volume from the series Masterworks of ukiyo-e, 26.5 x 19 cm, bound in unprimed canvas, red ms characters on black strip to front, red and black lettering to spine, tan embossed endpapers, in a pictorial slipcase with series design (black lettering on silver spine); pp: [1-6]: h.t./frontis. (colour plate pasted in), t.p./imprint, contents/acknowledgements), 7-31 text, [32] blank, 33-96 (76 plates w/captions). Title-page (in frame): MASTERWORKS OF UKIYO-E | UTAMARO | by Muneshige Narazaki and Sadao Kikuchi | Translated by John Bester | {publisher’s device} | KODANSHA INTERNATIONAL LTD. | Tokyo, Japan & Palo-Alto, Calif., U.S.A | {vertical, between rules 歌麿} || Series: Masterworks of ukiyo-e, № 4. Contributors: Muneshige Narazaki [楢崎 宗重] (Japanese, 1904 – 2001) – author. Sadao Kikuchi [菊地 貞雄] (Japanese, 1924 – 2017) – author. John Bester (British, 1927 – 2010) – translator. Kitagawa Utamaro [喜多川 歌麿] (Japanese, c. 1753 – 1806) – artist.
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  • Arthur L. Guptill. Rendering in pen and ink / Edited by Susan E. Meyer. — N.Y.: Watson- Guptill, 1976.

    Hardcover volume, 31 x 23.8 cm, bound in brown cloth with gilt lettering to front board and spine, in pictorial dust jacket, pp.: [1-9] 10-255 [256], ils. 1st edition. Title-page: RENDERING | IN PEN | AND INK | BY ARTHUR L. GUPTILL | EDITED BY SUSAN E. MEYER | WATSON- GUPTILL PUBLICATIONS, NEW YORK || Contributors: Arthur L. Guptill (American, 1891 – 1956) – author. Susan E. Meyer (American, b. 1940) – editor. Printed by Halliday Lithograph Corp. – printer.
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  • Cornelia Cabuk. Otto Rudolf Schatz: Monografie und Werkverzeichnis. — Wien: Ritter Verlag, 2018©.

    Hardcover, 31 x 24 cm, blue cloth over cardboard, orange lettering to spine, pictorial front cover, embossed back cover, pp.: [1-6] 7-271 [1], approx. 700 colour illustrations. Monograph and catalogue raisonné. ISBN: 978-3-85415-570-6. Title-page (orange): CORNELIA CABUK | {O. R. Schatz as vignette} | MONOGRAFIE | und | WERK= | VERZEICHNIS | mit Textbeiträgen von | STELLA ROLLIG | DIETER KRAFT | CORNELIA CABUK | Belvedere Werkverzeichnisse, Band 7 | Stella Rollig, Christian Huemer (Hg.) || Contributors: Otto Rudolf Schatz (Austrian, 1900 – 1961) Österreichische Galerie Belvedere Cornelia Cabuk Dieter Kraft Stella Rollig Ritter Verlag (Vienna)
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  • Calendrier de l’abeille, 1857 / Lithography.

    Lithography and etching on wove paper432 x 362 mm, black ink stamp “5022” to reverse, horizontal and vertical centrefolds. Depicts Diogenes (Ancient Greek, 412/404 – 323 BC) beside his barrel and extinguishing his torch when approached by Napoléon III ahorseback. Top: "1857 | HONNEUR ET PATRIE"; lettering on ribbons (top-down): SCIENCES, TRAVAIL, COMMERCE, ARTS, CHARPENTIERS, IMPRIMEURS, "MECHANICIENS, AGRICULTEURS, MAÇONS, FONDEURS, TERRASIERS, CIZELEURS, CARRIERS, ORFEVRES, BIJOUTIERS, CHAPELIERS, MENUISIERS, VERRIERS, SERRURIERS, TAILLEURS, SELLIERS, POTIERS, PORCELAINIERS, CORDONNIERS, TISSERANDS, INDUSTRIE, COMMERCE | CALENDRIER DE L'ABEILLE | EMPIRE, FRANÇAIS. Below left: "lith. Barousse Cour du Comm. 11 et 12. Paris"; right: "Dépôt rue des Cannettes, 20. Paris"; bottom: "Et, pour trouver un homme, il quitte son tonneau, | Voyant Napoléon, – il éteint son flambeau!" [And, to find a man, he leaves his barrel, | Seeing Napoleon, – he extinguishes his torch!]. Six months on the left and six months on the right-hand side of the calendar, surrounding the image.
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  • Protected: Otto Rudolf Schatz. Erotic scene / Watercolour on paper, c. 1950.

    Watercolour on thick wove paper, unsigned. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). Size: 305 x 212 mm.
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  • Европейская поэзия XVII века. (Библиотека всемирной литературы). — М.: Художественная литература, 1977.

    Европейская поэзия XVII века. Библиотека всемирной литературы. Серия первая. М.: Художественная литература, 1977. 928 с. Вступительная статья Ю. Виппера. Тир. 303 000.

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  • Utamaro. Seiro ehon nenju gyoji (A Picture Book of Annual Events in Yoshiwara). 1804.

    Utamaro. Seiro ehon nenju gyoji (A Picture Book of Annual Events in Yoshiwara). 1804.

    Seiro ehon nenju gyoji 青楼絵本年中行事 (A Picture Book of Annual Events in Yoshiwara). Block cut by: Fuji Kazumune (藤一宗). Printed by: Jakushodo Toemon (霍松堂藤右衛門). Written by: Jippensha Ikku (十返舎一九) (text, kyoka 4 & 12). Published by: Kazusaya Chusuke (上総屋忠助). Print artist: Kitagawa Utamaro (喜多川歌麿). Written by: Sandara Boshi (三陀羅法師) (kyoka 1). Workshop of: Yashiki no Katamaru (屋職堅丸). 1804 (spring); Edo. Reference: British Museum; Fine Arts Museums of San Francisco.
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  • John Warne Monroe. Laboratories of Faith: Mesmerism, Spiritism, and Occultism in Modern France Monroe. 2008

    John Warne Monroe. Laboratories of Faith: Mesmerism, Spiritism, and Occultism in Modern France Monroe. 2008

    John Warne Monroe. Laboratories of Faith: Mesmerism, Spiritism, and Occultism in Modern France.

    Cornel University Press, 2008.

    ISBN: 9780801445620; Hardcover.

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  • Kanayama tsuba with slanting rays of light motif. Momoyama period, 16th century.

    Iron tsuba of round form with design of slanting rays of light (shakoh) or clock gear (tokei) in openwork (sukashi). Commonly considered a Christian / Jesuit motif. Round-cornered rim. Copper sekigane. Momoyama period: Late 16th century (Tensho/Keicho era). Height: 72.5 mm, Width: 72.2 mm, Rim thickness: 5.5 mm, Center thickness: 5.3 mm. Round-cornered rim. Provenance: Sasano collection. Sasano Masayuki, Japanese Sword Guards Masterpieces from The Sasano Collection, Part I, № 136: "The general belief that this design represents the gear of a clock is erroneous, rather it shows the slanting rays of light from a cross, with the small diamond shapes representing the upright and transverse bars. The Christian influence is obvious..."  
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  • Yoshirō mon-sukashi tsuba. Momoyama or early Edo period.

    Iron tsuba of round form decorated with eight roundels - circular emblems of flowers and/or family crests (mon) made of cast brass, pierced and chiseled in kebori, and with flat brass inlay (hira-zōgan) of vines or seaweed all over the plate. Hitsu-ana outlined in brass. Four positive silhouette roundels are 3-, 4-, 5-, and 6- pointing crests/flowers; four negative silhouette roundels are bellflower, cherry blossom, and suhama. Yoshirō school (Kaga-Yoshirō). The Momoyama or early Edo period, beginning of 17th century.   Size: diameter 77 mm, thickness 3,8 mm
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  • Tōshō tsuba with a butterfly and a dragonfly motif. Muromachi period.

    A very large and very thin iron tsuba of round form decorated with design of formalized butterfly and dragonfly in openwork (sukashi). The characteristics of the plate resemble those of Kamakura period ko-tōshō tsuba. However, the design seems too 'modern' to me, but it's hard to tell; it may be a late Muromachi or Momoyama period work. Tōshō or Ko-Tōshō school (or a Katchushi). Muromachi period. Dimensions: 99.6 x 100.5 x 2.1 mm. This is what Jim Gilbert says about old tsuba:
    "Traditionally the old iron plate tsuba are classified into Ko Tosho (old sword smith), and Ko Katchushi (old armor maker) styles. It is sometimes difficult to justify attribution of a given tsuba to the Tosho or Katchushi category. Generally guards with raised rims or relatively complex designs tend to be assigned to Katchushi. This is basically a convention we follow out of habit and convenience." [...] "In Token Kai-Shi part six, Articles by Akiyama Kyusaku, Robert Haynes comments: "…from 1300 to 1400 over 150,000 MOUNTED swords were made in Japan for export alone. This means that over four tsuba a day were made for 100 years. This would mean that at least 3000 persons were making nothing but tsuba, let alone all the other fittings needed to complete these swords. With sword smiths, fittings makers and all the other artists need to complete a sword for export, at least 10,000 sword artists were working together, in any one of these hundred years."
    Reference to design can be found at "Japanese Swords and Tsuba from the Professor A. Z. Freeman and the Phyllis Sharpe Memorial collections" / Sotheby's, London, Thursday 10 April 1997; p. 18-19, lot № 37: "A Kamakura-bori Tsuba, Momoyama Period. ...pierced with two large formalised butterflies..."

    A Kamakura-bori tsuba of octagonal form, Momoyama period.

    Reference to design in this collection: TSU-0319.

    TSU-0319. Ōnin ten-zōgan tsuba, Muromachi period.

     
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  • Iron tsuba with the Sennins motif. Edo period, ca. 1700.

    Iron tsuba of oval form with the design of two immortals (Gama Sennin with the toad upon his head and Tekkai Sennin with his iron crutch) beside a waterfall carved in low relief with a high relief effect (takabori) and with details inlaid in gold. A waterfall carved on the reverse. Nakago-ana is plugged with copper sekigane. Unsigned. Allegedly, Mito School.

    Edo period, ca. 1700.

    Size: Height: 87.0 mm; Width: 82.8 mm; Thickness: 4.4 mm; Weight: 179 g.

    No longer available.
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  • Ōnin suemon-zōgan tsuba with design of foliage and family crest. Late Muromachi period.

    Iron tsuba of round form inlaid with brass and shakudo (suemon-zōgan) with a design of tendrils, leaves, double gourds, and folding fan with two wild geese on the face and the same design only with a fan with two interlocked rings (wachigai) on the back. Design is supplemented with a round family crest (mon) of three fans in openwork (sukashi). Hitsu-ana and the mon are outlined with brass rope. Copper sekigane.

    Some attribute such tsuba as belonging to Heianjō or even Yoshirō School, and date them to Momoyama period. I keep this piece under Ōnin rubric, late Muromachi, but this is just a question of personal preference.

    Some inlay is missing, some repaired; traces of rust. Otherwise - decent condition.

    Late Muromachi period (1514-1573). Size: 77.4 x 77.1 x 3.8 (center), 3.2 (rim) mm
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  • 9″ ivory picklock Havlin bayonet switchblade knife

    Classical picklock bayonet switchblade knife with bolster release, fixed guard, cream handles (ivory?).

    Size: 123 mm x 20 mm (closed); 220 mm (opened); 130 mm blade.

    Tang is etched with: Havlin.
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