/Collection
  • Plan de la ville et citadelle de Cambray : place forte du pays bas capitalle du Comté Cambresis situé sur la riviere de l'Escaut a trois lieues de Bouchain, a cinq du Quesnoy, a six et demy de Landrecy, a six de Valenciene, a cinq de Douay, a huit d'Arras, et a six de Perone, l'Archeveque de Cambray est Duc de Cambray, Comté du Cambresis et Prince du S. Empire, elle fut prix sur les espagnoles par Louis XIV, le 5.me d'April 1677; A AMSTERDAM Chez Covens & Mortier, Avec Privilege.

    Date of publication: [between 1721 and 1778].

    Dimensions: Sheet: 48 x 58.3 cm; Image: 38.2 x 47.7 cm. Earlier editions of the same were by Pierre Husson in the Hague (ca. 1715) and by Eugene Henry Fricx in Brussels (1710).
  • Front wrapper: LA MATINÉE | {vignette} | LIBERTINE || Title-page: ANDRÉA DE NERCIAT | LA MATINÉE | LIBERTINE | OU LES MOMENTS BIEN EMPLOYÉS | Pointes sèches et Dessins | de Jean-Gilles LEGENDRE | {fleuron in colour} | PARIS | MCMXXVIII || Description: Owner’s ¾ green morocco over marbled boards, raised bands, gilt lettering to spine, 24.3 x 19 cm overall, 23 x 17.5 cm leaves, green marbled endpapers, printed on BFK Rives watermarked wove paper. Collation: Orig. wrapper, [1-4] 2 blank leaves, [5-6] h.t. / limitation, [7-8] t.p. / blank, [9-10] avant-propos / blank, [11] 12-118, 4 blank leaves, orig. spine, orig. back wrapper, 9 hand-coloured dry-point plates with tissue guards, incl. engraved title/frontispiece, in-text colour illustrations (chromoxylography?). Limitation: A print run of 196 copies, № 1 on Vieux Japon,  №№ 2-9 on Japon Impérial,  №№ 10-21 on Hollande Van Gelder, and №№ 22-196 on Velin à la forme; this copy marked "H.C." (Horse Commerce") – not for sale (NFS), printed over the print run and reserved for the artist, other contributors, and their friends. Catalogue raisonné: Dutel (1920-1970): № 1939, p. 255: attributes publisher, and in-text illustration count; does not provide for H.C. copies in limitation. Contributors: André-Robert Andréa de Nerciat (French, 1739 – 1800) – author. Gaston Trilleau [pseud. Jean-Gilles Legendre] (French, 1874 – 1945) – illustrator. Maurice Henri Hector Duflou (French, 1885 – 1951) – publisher/printer.
  • Hardbound, 25.3 x 22 cm, blue cloth, pictorial dust jacket lettered: HIROSHIGE | FAN PRINTS | RUPERT FAULKNER | {image} | VICTORIA AND ALBERT MUSEUM • FAR EASTERN SERIES ||; silver lettering to spine, green endpapers, description of 136 items with colour illustrations; pagination: [1-6] 7-160, ils. Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858).
  • Title: Gotenyama [御殿山] – one of the most popular cherry blossom viewing spots; it is a hill at Shinagawa [品川], the second station on the Tōkaidō road [東海道], located on the shores of Edo Bay [江戸湾]. Series: A Collection of Mountains [山つくし] (Yama tsukushi) Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 12 January 1865). Block carver: Yokokawa Takejirō, seal: [彫竹] – Hori Take. Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Combined date seal and kiwame censor seal: Ansei 6 (1851). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Size: Fan print (uchiwa-e) 227 x 287 mm.
  • Artist: Katsukawa Shunkō [勝川 春好] (Japanese, 1743 – 1812).

    Actor: Matsumoto Kōshirō IV [[松本幸四郎]; other names: Omegawa Kyōjūrō, Ichikawa Komazō II, Ichikawa Somegorô I, Ichikawa Takejūrō, Segawa Kinji, Segawa Kingo] (Japanese, 1737 – 1802).

    Signed: Shunkō ga. Size: Hosoban; 14 x 33 cm. SOLD
  • Two volumes in blue cloth, 30.3 x 25.2 cm each, in a matching slipcase 31.5 x 25.5 x 6.5 cm, with silver lettering. Vol. 1: Text, pp.: [1-8] 9-502 [2 blank]; Vol. 2: Plates, 240 unpaginated pages (721 entries). Suzuki Harunobu (Japanese, 1725 – 1770) David B. Waterhouse (British, 1936 – 2017)
  • Description: One volume, 20.2 x 14 cm, bound in tan cloth, lettered in red and embossing “И. БАБЕЛЬ | РАССКАЗЫ | {vignette} | ГОСЛИТИЗДАТ | 1934”, red lettering to spine. Title-page: И. БАБЕЛЬ | РАССКАЗЫ | ГОСУДАРСТВЕННОЕ ИЗДАТЕЛЬСТВО «ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА» | 1934 || Contents: Конармия; Одесские рассказы; Рассказы. Pagination: [1-4] 5-282 [283] [284 blank] [2 contents] [2]; total 288 pages, +3 ils. Collation: [1]-188; total 144 leaves, plus 3 wood-engraved plates by Boris Gutentog extraneous to collation. Print run: 15.000 copies. Edition: 1st edition thus. Contributors: Исаак Эммануилович Бабель [Isaac Babel] (Russian-Jewish, 1894 – 1940) – author. Борис Наумович Гутентог [Boris Gutentog] (Russian-Jewish, 1902 – 1980) – artist.  
  • Title: Lyon Collection: Genji, Chapter 21, the maiden (otome - 乙女): the nine-tailed fox woman (kayō-fujin [花陽夫人]) terrorizing Prince Hanzoku (足王) and his servant from the series Japanese and Chinese parallels to Genji (wakan nazorae genji - 和漢准源氏). British Museum: Otome 乙女 (Maiden) / Waken nazorae Genji 和漢准源氏 (Japanese and Chinese Comparisons for the Chapters of the Genji). Schaap: Prince Hanzoku terrorized by a nine-tailed fox; Series: Wakan nazorae Genji (Japanese and Chinese parallels to Genji) Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Publisher: Iseyoshi [伊勢芳] (Marks 25-013 | U095); seal [イせ芳]. Block carver: Hori Shōji [彫庄治] (Lyon Collection; BM); Hori Takichi [彫多吉] (Schaap). Date-aratame seal: Ansei 2, 7th month (1855). Ref: Jack Hillier. Japanese prints and drawings from the Vever Collection (3 volumes). — New York: Sotheby Parke Bernet & Rizzoli International, 1976; vol.3, p. 868, pl. 847. Robinson (1982): p. 161, S88, № 21. Schaap (1998): p. 115, № 107. SOLD
  • Softcover, original wrappers, 16 x 11 cm, collated 8vo: 48, 54, total 36 leaves, pp.: [2] 3-71 [72]. Front wrapper (lettered in black and white): {photo} | Б. РЕСТ. | КНИГИ | И | ЛЮДИ | ГОСЛИТИЗДАТ || Title-page (black and red): Б. РЕСТ | КНИГИ И ЛЮДИ | ОЧЕРКИ ИЗ ИСТОРИИ ГОСУДАРСТВЕННОЙ | ПУБЛИЧНОЙ БИБЛИОТЕКИ | имени | М. Е. САЛТЫКОВА-ЩЕДРИНА | 1814 — 1939 | {vignette} | — | Государственное издательство | “ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА” | Ленинград 1939 || Print run: 7,500 copies. B. Rest [Б. Рест; Юлий Исаакович Шапиро] (Jewish-Russian, fl. 1940 – 1980).
  • One volume collated 8vo, 19 x 14 cm, bound in black alligator leather. Front wrapper  (green) / title-page (white): A female figure smoking a pipe next to a beer mug, reclining over an arch ring lettered “…VERSITÉ” (UNI… not shown), her dress ribbon lettered “MUSA STUDIORUM”, holding a book lettered “SCIENTIA”; within the arch « ALMANACH | CROCODILIEN | DÉDIÉ | AUX ÉTUDIANTS BELGES. | BIBLIOTHÈQUE | DE LA JEUNESSE MUSULMANE. »; below lies a book lettered “1856.”, next to it is a smoking skull; three male figures embracing the arch columns. Half-title: ALMANACH CROCODILIEN | POUR | L’ANNÉE BISSEXTILE, MAIS NÉANMOINS DE GRACE | 1856. || Pagination: [1-5] 6-14 [15-41] 42-134 [137] 138, total 136 pages within the wrappers, original publisher's green wrappers preserved, carte de visite ‘Félicien Rops, Étudiant’ and pink invitation card № 129 for ‘Bal des femmes’ on March 19, 1892 at ‘Fête annuelle du Courier Français’ bound in; in-text woodcuts, initials, head- and tail-pieces after Félicien Rops. Bookplate “Ex Libris Marcellus Schlimovich” with motto “Ars naturam adiuvat” on front pastedown. Stamp of the "Sociedad Hebraica Argentina / Coleccion M. Schlimovich / Varios / No. 2-492” to half-title. Pencil inscription to half-title: "Ex. Félicien Rops" – possibly an own copy of the artist. Collation: π2 1-88 92, total 68 leaves within wrappers. Printer: Typ. de J. Vanbuggenhoudt (Bruxelles). Sociedad Hebraica Argentina; Marcelo Schlimovich (Argentine-Jewish, ca. 1880 – 1960) – provenance. Félicien Rops (Belgian, 1833 – 1898) – artist.
  • An uncut fan print showing Otsu-e [大津絵] (Otsu pictures). Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879). Signed: Gountei Sadahide ga [五雲亭貞秀画] (Picture by Gountei Sadahide); characters on the Otsu-e. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Published: c. 1849. Inscription in a paper-weight shaped cartouche: [大津追 分絵の図] Ōtsu-oi wake-e no zu (Following Otsu – image of separate pictures) No date seal, no censor seal (privately printed?) Media: Fan print (uchiwa-e, 団扇絵), 235 x 298 mm.
  • Quarter calf over marbled boards, 16 x 9 cm, spine with raised bands, gilt in compartments, gilt-lettered label, all margins red, two title-pages (one for each vol.), illustrated with engraved frontispiece by Antonio Baratti after Antonio Balestra; engraved portrait of John Milton by Antonio Baratti, 12 plates, one for each book, after “Piazzetta, Zucchi, Balestra, Tiepolo, and other Venetian artists”, unsigned; plate II signed ‘Antonio Barati scul.’ Title page: IL PARADISO | PERDUTO | POEMA INGLESE | DI GIOVANNI MILTON | TRADOTTO DAL SIG. | PAOLO ROLLI | Con le Annotazioni | DI G. ADDISON | E alcune Osservazioni critiche. | TOMO PRIMO (SECUNDO). | {publisher’s device} | IN PARIGI , MDCCLVIII. | — | A spese di Bartolommeo Occhi. | LIBRAJO VENETO. || Collation: *-**12 ***8 (dedication, vita), A-R12 (vol. 1) A-K12 L9 (vol.2); total 365 leaves plus 14 engraved plates, incl. frontispiece and portrait. Pagination: [i, ii] iii-lxiv 1-407 [408 blank], [2] 3-258; total 730 pages. Catalogue raisonné: Wickenheiser Collection 688 [LIB-2795.2021]. Though it states 228 pp., which does not seem right. “Scarce. Not in Coleridge”. Contributors: Milton, John (British, 1608 – 1674) – author. Joseph Addison (British, 1672 – 1719) – author / criticism Paolo Antonio Rolli (Italian, 1687 – 1765) – author / transaltion Bartolomeo Occhi (Italian, 1730 – 1781) – publisher. Antonio Baratti (Italian, 1724 – 1787) – engraver Antonio Balestra (Italian, 1666 – 1740) – artist. Giovanni Battista Piazzetta (Italian,1682/83 – 1754) – artist. Antonio Zucchi (Italian, 1726 – 1795) – artist. Giovanni Battista Tiepolo (Italian, 1696 – 1770) – artist.
  • Artist: Utagawa Kunisada, a.k.a. Toyokuni III (Japanese, 1786 – 1865) [歌川 国貞]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Date aratame seal: Bunsei 12 (1829). Signed: Gototei Kunisada ga [五渡亭国貞画]. Media: Fan print (uchiwa-e), 238 x 267 mm (overtrimmed). Actor: Iwai Shijaku I [紫若] (Japanese, 1804 – 1845); other names: Iwai Matsunosuke I [岩井松之助]; Iwai Hanshirō VII, Iwai Shijaku I, Iwai Komurasaki I. The background is Arare-ko-mon [霰小紋] hail pattern. In the red cartouche at the top right is the series title "Edo no hana – itsutsu Karigane" (江戸の花 五雁金), to be translated as "Flowers of Edo - the five Karigane blood-brothers" (or "the five Karigane gang members"). Another print from the series in this collection: SVJP-0304.2019.
  • Paperback volume, 25.7 x 18.6 cm, brown embossed wrappers with framed Japanese characters along the outer margin, pictorial dust jacket with series design (black lettering and vignette in silver border to wrappers, black lettering on silver to spine); pp: [1-6]: h.t./frontis. (colour plate pasted in), t.p./imprint, contents/blank), 7-32 text, 33-96 (59 plates w/captions). Title-page (in frame): MASTERWORKS OF UKIYO-E | EARLY PAINTINGS | by Muneshige Narazaki | English adaptation by Charles A. Pomeroy | {publisher’s device} | KODANSHA INTERNATIONAL LTD. | Tokyo, Japan & Palo-Alto, Calif., U.S.A | {vertical between rules 初期 浮世絵} || Series: Masterworks of ukiyo-e, № 1. Contributors: Muneshige Narazaki [楢崎 宗重] (Japanese, 1904 – 2001) – author. Charles A. Pomeroy (American, b. 1930) – adaptation.  
  • Hardcover volume, 22.2 x 14.8 cm, bound in grey buckram, gilt lettering in an ornamental frame to front and spine, blind-stamped lettering to back; pp.: [1-2] 3-364 [4], collated 8vo:1-238, total 184 leaves, 368 pages. Title-page: ЛЕНИНГАДСКИЙ ОРДЕНА ЛЕНИНА | И ОРДЕНА ТРУДОВОГО КРАСНОГО ЗНАМЕНИ | ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ ИМЕНИ А. А. ЖДАНОВА | {in two-compartment frame: В. Я. ПРОПП {within a compartment} | ИСТОРИЧЕСКИЕ КОРНИ ВОЛШЕБНОЙ СКАЗКИ {within a compartment} | ИЗДАТЕЛЬСТВО ЛЕНИНГРАДСКОГО УНИВЕРСИТЕТА | ЛЕНИНГРАД 1986 || Print run: 25,000 copies. Edition: 2nd edition; for the 1st edition, see [LIB-3184.2023В. Я. Пропп. Исторические корни волшебной сказки. — Л.: ЛГУ, 1946. English title: [LIB-1615.2018The historical roots of the fairy tale. Contributors: Владимир Яковлевич Пропп [Vladimir Propp] (Russian, 1895 – 1970)
  • Hardcover volume, 23 x 15 cm, bound in full pictorial olive cloth, lettering to spine, in a green slipcase 23.5 x 15.9 cm; pp.: [1-4] 5- 267 [268] [4 blanks], b/w tailpieces, frontispiece and 8 colour photomechanical plates after John Holder. Title-page: GRAHAM GREENE | TRAVELS WITH MY AUNT | A Novel | Introduced by John Mortimer | Illustrated by John Holder | FOLIO SOCIETY | LONDON MMIV || Contributors: Graham Greene (British, 1904 – 1991) – author. John Mortimer (British, 1923 – 2009) – author/introduction. John Holder (British, b. 1941) – artist. St. Edmundsbury Press (UK) – printer. Hunter & Fouls (Haddington) – binder. Folio Society (UK) – publisher. For the 1st edition, see [LIB-2758.2021] Graham Greene. Travels with my aunt: a novel. — London: Bodley Head, 1969.
  • Softcover, french flapped wrappers, 29 x 19 cm, in glassine dustjacket, text printed on laid paper, pp.: [1-10] 11-256 [8], total 264 pages plus 11 plates out of 12, hand-coloured etchings on wove paper laid in, extraneous to collation. Wrappers detached from the block. Some pages uncut. Below is the missing plate, according to honesterotica.com: Title-page: LES FILLES | DE LOTH | • | et autres poèmes | érotiques | recueillis par le | Vidame de Bozegy | • | A SODOME | — Imprimerie de la Genèse — | 1933 || Edition limited to 500 copies, this is copy № 54. Catalogue raisonné: Dutel III № 1575. Edmond Dardenne Bernard [Vidame de Bozegy] (French, 20th c.) – author. André Collot (French, 1897 – 1976) – artist.
  • Hand-coloured woodcut on wove paper, 327 x 280 mm; black ink stamp “5265” to reverse, attached to the sheet 470 x 325 mm. Top centre: "S. A. LE PRINCE IMPÉRIAL.", right: "63." Image: equestiral portrait of Prince Impérial. Under the image, centre: "Fabrique d'Images de GANGEL et P. DIDION, à Metz." — "Déposé." Napoléon, Prince Imperial (Napoléon Eugène Louis Jean Joseph Bonaparte] (French, 1856 – 1879). Gangel et P. Didion (Metz); Paulin Didion (French, 1831 – 1879) – publisher/printer.
  • Hardcover, 23 x 17 x 4.7 cm, burgundy buckram, bevelled boards, blind geometrical design with a gilt medallion at the centre, gilt lettering and blind design elements to spine, text in frame, all edges red; pp.: [i-v] vi-xvi, [1] 2-494, [2 advert.], [1] 2-32 advert.], collation 4to: a-b4, B-3R4, a16. Title-page (red and black, in red frame): A HISTORY | OF | CARICATURE & GROTESQUE | {gothic letters} In Literature and Art. | By THOMAS WRIGHT, Esq., M.A., F.S.A., | Hon. M.R.S.L., &c.; | Corresponding Member of the Imperial Institute of France | (Académie des Inscriptions et Belles Lettres). |{double rules} | WITH | ILLUSTRATIONS FROM VARIOUS SOURCES, | DRAWN AND ENGRAVED BY | F. W. FAIRHOLT, Esq., F.S.A. | {double rules} | {gothic letters} London : | VIRTUE BROTHERS & CO., 1, AMEN CORNER, | PATERNOSTER ROW. | 1865. Contributors : Thomas Wright (British, 1792 – 1849) – author. Frederick William Fairholt (British, 1814 – 1866) – artist/engraver. Virtue Brothers & Co. (London) – publisher/printer.
  • Поль Дельтуф. Жизнь и творения Макиавелли. // "Записки для чтения, издаваемые К. Трубниковым", 1867, NN 8-9, с. 73-77. Ежемесячное приложение к Биржевым ведомостям. Август и Сентябрь. Санктпетербург. Тип. Товарищества "Общественная польза".

    "Essai sur les oeuvres et la doctrine de Machiavel, avec la traduction littérale du Prince et de quelques fragments historiques et littéraires", par Paul Deltuf, Paris, 1867.

  • 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. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862), seal Marks 21-216. Double nanushi censor’s seals: Hama & Magome (1849-53). Title: Wisteria in Kameido [亀戸乃藤] (Kameido no fuji). An uncut fan print (uchiwa-e), depicting a young woman coming down Taikobashi bridge at Kameido Tenjin Shrine.
  • Iron tsuba of round form with design of rudder, paddle, and stars in small openwork (ko-sukshi) outlined with brass wire, and further decorated with inlay of five concentric rows of brass dots or nail heads (ten-zōgan) and circular brass wire inlaid inside the innermost row of dots. Two lower round openings may also serve as udenuki-ana. Copper sekigane. Unsigned. Late Muromachi or Momoyama period, 16th century. Diameter: 90.4 x 89.8 x 2.8 mm.
  • Shingen school (or style) tsuba of round form with iron core and web, covered with a thin brass plate decorated with star-shaped punch marks. The rim of tsuba is a brass nawame-fukurin. Between the central brass plate and the rim there is woven wire of brass and copper in a basketweave pattern. Both hitsu-ana have raised rim. Traces of oxidation. Unsigned. Edo period, 18th century. Size: Height: 88.4 mm, Width: 86.6 mm, Thickness at seppa-dai: 4.6 mm. Weight: 132.4 g. Robert E. Haynes in his "Study Collection of Japanese Sword Fittings. Nihon Art Publishers, 2010" on p. 117 says: "Brass outer plate of round shape. This tsuba has an iron core tsuba of spoke form as made by Saotome school, ca. 1500. There are brass plates on either side connected to the rim by woven brass and shakudō wire. The wire has been hand drawn, which is very difficult. The hitsuana are brass lined and the rim has a brass cover. This type of tsuba is referred to as a Shingen tsuba. This is a reference to Takeda Shingen Harunobu (1521-1573), the great and famous daimyō." For reference see the MFA collection. A look-a-like tsuba is illustrated in Compton Collection, vol. 2, p. 26-27, №52:

    Compton Collection, vol. 2, p. 26-27, №52.

    More details and examples can be found at: http://varshavskycollection.com/shingen-tsuba/
  • Iron tsuba of round form decorated with design of dragonfly in negative openwork (in-sukashi). It may be Ko-Tōshō (old Tōshō) or just Tōshō school, without a 'Ko'. Probably the dragonfly here is used as a family crest (mon). Muromachi period. Dimensions: Height: 95.0 mm. Width: 93.6 mm. Rim thickness: 2.1 mm. Center thickness: 2.3 mm. Nakago-ana: height = 30 mm, width = 7.8 mm. A dragonfly design is described by John W. Dower as following "During the period of feudal warfare, the dragonfly is reputed to have been am especially popular design applied to arrow quivers, and some warriors adopted it as a family crest. One reason for this was the insect's alternative names of katsu mushi and shogun mushi, both meaning 'victory insect'." Merrily Baird is even more talkative regarding the matter: "The dragonfly (tombo) in Japan is emblematic of martial success, as various names for the insect are homophones for words meaning "victory". The dragonfly is also auspicious because references in the Kojiki and Nihongi link it in both name and shape to the old kingdom of Yamato. This legacy has led to the use of dragonfly as an emblem on arrow quivers and as family crest. It also appears occasionally in conjunction with such imperial motifs as the chrysanthemum. Used in a context devoid of historical associations, the dragonfly is a seasonal symbol of late summer and early autumn." Dragonfly was an extremely often motif for the tsuba in all times, primarily in earlier times, before Tokugawa pacified the nation. The same motif is used on Ōnin tsuba in this collection:
  • Ichikawa Ebizō III (Matsumoto Kōshirō II, Ichikawa Danjūrō IV, 1711-1778) probably shown as Shinozuka Gorō in the Shibaraku scene of the play Ōyoroi Ebidō Shinozuka, performed at the Nakamura Theater in the 11th month of 1772 (Meiwa 9). This was the occasion when he celebrated his name change, from Matsumoto Kōshirō II to Ichikawa Ebizō III. The lobster or giant shrimp (ebi) upon the Ichikawa family crest (three concentric squares - three measures of rice) on his garment underscores the fact of the name change (ebi).  
  • Relatively thick iron tsuba of rounded square form with slightly elevated rim decorated in carving (sukidashi-bori) and yellow brass (shinchū) inlay (suemon-zōgan) with legendary creatures (humans with cow heads) in a pine tree forrest on the face,  and a horned man with a stick hunting a rabbit in the woods on the reverse.  Large hitsu-ana possibly cut off later on. In the beginning of the 20th century such tsuba were usually attributed to Fushimi-Kaga school. This one may be attributed to either Ōnin or to Heianjō. The latter seems most plosible because of the thick web and dull patina. The technique may also be called "shinchū-zōgan". Momoyama or early Edo period. Unsigned. Dimensions: 72.3 x 68.4 x 4.1 mm
  • Seller provided description:
    "Finely painted via the red-figure technique, an elegant pelike vessel of a classic globular form with a cylindrical neck rising to a flared rim, and twin fluted handles, all upon a raised, concave, disc foot.
    Side A depicts a winged Eros who stands in contrapposto facing toward the left, in the nude save sandals, bracelets, a beaded sash, and a stephane (wreath) holding a situla (pail) in his left hand and gesturing toward the seated maenad before him. Though with her breasts exposed, the maenad does wear a lower garment, and is bedecked with a stephane, multiple bracelets, and strands of pearls around her neck - all delineated in fugitive white and yellow pigment. She holds a mirror in her left upraised hand and leans upon a tambourine with her right elbow. Above and to the right is a maker's mark of a circular format with a central X that is further adorned by nested wedges and dot motifs. Side B presents two opposing standing draped male figures, the gent on the left leaning upon a walking stick. Complementing the figural program, is a lovely decorative program adorning both sides of the vessel, with bands of laurel leaves above and a repeating Greek key/meander below. An outstanding example, masterfully wheel thrown, so that we see absolutely no signs of any jogs in the transitions between the different elements of the vase. Moreover, it presents ideal proportions perfect for presenting the superb painted iconographic/decorative program. The painting was executed with the utmost skill and artistry - the red-figure technique enabling the artist to delineate the figures' musculature, facial details, as well as the cascading drapery folds with extensive fugitive paint embellishments.
    Expected surface wear with some scuffs and pigment losses commensurate with age, but the painted program is generally very well preserved. Area of repair/restoration to cloak of male on right (Side B). Minute nick to left of male on left (Side B). Nice root marks throughout and areas of encrustation. Thermoluminescence (TL) report: the piece has been found to be ancient and of the period stated. Equivalent age: 2400 +/- 300 years. Certificate of Authenticity from Artemis Gallery. Provenance: private East Coast, USA collection. Greece, Southern Italy, Apulia, ca. 330 BCE.
    Size: 6.75" in diameter x 9.875" H (17.1 cm x 25.1 cm)
    Polina de Mauny, being both attentive and knowledgeable, was the first who noticed a possible mistake in the description above. It is highly probable that the woman on side A is not a maenad but Aphrodite herself, holding a mirror and leaning on a shield. Maenads were "often portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication". The situla, held by Eros, unequivocally alludes to Dionysian ritual, which has to do as much with maenads as with Aphrodite. The nature of two men on side B remain unclear.
  • Three priests: Le Pere Matthieu Ricci, Le Pere Adam Schaal, and Le Pere Ferdinand Verbiest. Three priests with navigational instruments. Image taken from Description geographique, historique, chronologique et physique de l'Empire de la Chine et de la Tartarie Chinoise. Enrichies des cartes generales et particulieres de ces pays, etc. by Jean-Baptiste Du Halde (1674–1743), vol. 3, page 78. Originally published/produced in La Haye [The Hague], 1736. J.v.Solingen fecit

    Jean-Baptiste Du Halde (Chinese: 杜赫德; 1 February 1674 – 18 August 1743) was a French Jesuit historian specializing in China. He did not travel to China, but collected seventeen Jesuit missionaries' reports and provided an encyclopedic survey of the history, culture and society of China and "Chinese Tartary," that is, Manchuria. Voltaire said of Du Halde's work: "Although it is developed out of Paris, and he hath not known the Chinese, [he] gave on the basis of the memoirs of his colleagues, the widest and the best description the empire of China has had worldwide." Le Pere Matthieu Ricci, a.k.a. Matteo Ricci, S.J. (Italian pronunciation: [matˈtɛːo ˈrittʃi]; Latin: Mattheus Riccius Maceratensis; 6 October 1552 – 11 May 1610), was an Italian Jesuit priest and one of the founding figures of the Jesuit China missions. His 1602 map of the world in Chinese characters introduced the findings of European exploration to East Asia. He is considered a Servant of God by the Roman Catholic Church. Ricci arrived at the Portuguese settlement of Macau in 1582 where he began his missionary work in China. He became the first European to enter the Forbidden City of Beijing in 1601 when invited by the Wanli Emperor, who sought his services in matters such as court astronomy and calendrical science. He converted several prominent Chinese officials to Catholicism, such as Xu Guangqi, who aided in translating Euclid's Elements into Chinese as well as the Confucian classics into Latin for the first time. Le Pere Adam Schaal, a.k.a. Johann Adam Schall von Bell (1 May 1591 – 15 August 1666) was a German Jesuit and astronomer. He spent most of his life as a missionary in China (where he is remembered as "Tang Ruowang") and became an adviser to the Shunzhi Emperor of the Qing dynasty. Le Pere Ferdinand Verbiest, a.k.a. Father Ferdinand Verbiest (9 October 1623 – 28 January 1688) was a Flemish Jesuit missionary in China during the Qing dynasty. He was born in Pittem near Tielt in the County of Flanders (now part of Belgium). He is known as Nan Huairen (南懷仁) in Chinese. He was an accomplished mathematician and astronomer and proved to the court of the Kangxi Emperor that European astronomy was more accurate than Chinese astronomy. He then corrected the Chinese calendar and was later asked to rebuild and re-equip the Beijing Ancient Observatory, being given the role of Head of the Mathematical Board and Director of the Observatory. He became close friends with the Kangxi Emperor, who frequently requested his teaching, in geometry, philosophy and music. Verbiest worked as a diplomat and cartographer, and also as a translator because he spoke Latin, German, Dutch, Spanish, Hebrew, and Italian. He wrote more than thirty books. During the 1670s, Verbiest designed what some claim to be the first ever self-propelled vehicle – many claims this as the world's first automobile, in spite of its small size and the lack of evidence that it was actually built.

    Joshua Van Solingen was an engraver and publisher from Holland, working, besides other places, in Scotland. Information about him can be found at Catastrophic Bliss (The Griot Project Book Series) by Myronn Hardy;  Accounting in Scotland (RLE Accounting): A Historical Bibliography edited by Janet E. Pryce-Jones, Robert H. Parker; History of the Scottish Metrical Psalms: With an Account of the Paraphrases ... by John West MacMeeken;  The History of Edinburgh, from the Earliest Accounts to the Present Time ... by Hugh Arnot;  History of the Bassandyne Bible, the First Printed in Scotland: With Notices ... by William T. Dobson.

  • [Jean de LA FONTAINE]. Contes et nouvelles en vers. De Monsieur de La Fontaine. Nouvelle édition enrichie de tailles-douces. À Amsterdam | Chez Henry Desbordes, MDCLXXXV [1685]. — 2 vol. in 1. Pagination: [1] - frontispiece with pasted illustr., [*1] - title p. with blank verso, *2-*5 (only recto numbered) - advertisement, [1] - preface vol. 1, [2] table, 1-236; [6] - preface vol. 2, 1-216, illustr. (in text). Etched frontispiece plate and 58 half-page etchings at the head of each chapter as well as endpiece vignettes, all by R. de Hooge (Romeyn de Hooghe, 1645 – 1708, a Dutch painter, sculptor, engraver and caricaturist. First illustrated edition. "Publication of the scandalous fables was forbidden in France from 1674. According to Van Eeghen, this edition was published without the knowledge of La Fontaine. ...This is the edition with ‘Le Juge de Nêle’ (instead of Mesle) in the contents of the first volume, as well as page 211 for 'Dissertation sur la Joconde'; 16 lines of text on page 211; and 19 lines of text on the first page of the preface of volume 2" [1]. Pott 8vo (15.4 x 10 cm), hardcover; owner's later tan polished half-calf, marbled boards, marbled pastedowns and flyleaves, 5 raised bands, dark brown labels with gilt lettering and gilt roll patterns on spine, tail of the spine slightly damaged. Corners bumped, spotted stains on leather. Henri Desbordes (d. ca. 1722) was a Huguenot printer who was exiled from his business in France and set up as a publisher in Amsterdam in the 17th century.
  • Title: Emblemata | Florentii Schoon~ | hovii I. C. Goudani, | Partim moralia | partim etiam Civilia. | Cum latiori eorundem ejusdem | Auctoris interpretatione. | Accedunt et alia quædam | Poëmatia in alijs Poëma | tum suorum libris non | contenta. | Amstelodami. | Apud | Joannem Janßonium •1635• Size: 20 x15.5 cm, small 4to Edition: 3rd edition (the first two editions being by Burier, Gouda, 1618 and by Elzevir, Leiden, 1626. Collation: ¶/*6, A-Z4, Aa-Ff4, Gg2. Pagination: [2] - enrgaved t.p. / blank, [6] - dedication, [2] - lectori benevolo, [2] - in commend. / frontis. engraved portrait of  Gerardus Traudenius – academic/intellectual; author/poet (Dutch, fl. 1615 – 1623), 1-235. Illustrated with engraved title, portrait of dedicatee, and 74 engraved emblems by Crispijn van de Passe the Younger (1594/5 – 1670). Binding: bound in full contemporary Dutch blind-stamped parchment over thin boards, laced case construction, inked title to spine, no flyleaves, signature washed from the title, the blank margin of title trimmed away at head, slight marginal water stain to the first signature, front bottom board corner bumped.  
  • Title (black and red): ANTIQUITATES CHRISTIANÆ: |—| OR, THE | HISTORY | OF THE | LIFE AND DEATH | OF THE | HOLY JESUS: | AS ALSO THE Lives, Acts and Martyrdoms | OF HIS | APOSTLES. |—| IN TWO PARTS. |—| The Firƒt Part, containing The Life of CHRIST, written by | Jer. Taylor, Late Lord Bishop of Down and Connor. | The Second, Containing The Lives of the APOSTLES, with an | Enumeration, and ƒome Brief Remarks upon their firƒt Successors in | the Five Great APOSTOLICAL CHURCHES, | By WILLIAM CAVE, D. D. Chaplain in | Ordinary to His MAJESTY. | By whom alƒo is added an APPARATUS, or Diƒcourƒe Introductory to the whole Work, | concerning the Three Great Diƒpenƒations of the Church, Patriarchal, Moƒaical, and Evangelical. |—| THE EIGHTH EDITION. |—| Orig. contr. Celƒ. lib. 1. in Proœm. p. 1, 2. | [text in Greek] |—| LONDON, | Printed by R. N. for Luke Meredith, at the Sign of the Star in | St. Paul's Church-Yard, MDCXCIV. Collation of this book is unusual, it is called "Folio in 6s" (three sheets are folded in half to create a gathering of 6 leaves). Two unsigned leaves: (1) Engraved frontispiece "The Annunciation" by Willian Faithorne "the Elder" (British, 1616 – 1691), recto blank; (2) engraved title by the same engraver, verso blank; (*) gathering of 4: black and red title page, verso blank; epistle; to reader; imprim. (Ato Sƒ6) Engraved portrait of Jeremy Taylor by Pierre Lombart (French, 1612 – 1682); faux title page: "The Great Exemplar of Sanctity and Holy Life... MDCXCIII"; dedication; contents, then to the end of the first book. (A-Z4 Aa-Bb4 Cc2) The second book has collation in quarto: Faux title page: "Antiquitates Christianæ: or the Lives, Acts and Martyrdoms... MDCXCIV", etc. to the end. Full formula: π*4 a-c6 d8 A-Z6 Aa-Sƒ6 A-Z4 Aa-Bb4 Cc2 Pagination: [12]  I-LI [LII] [12] I-XXVIII, i-vi, (1st book): [2] I-145 [146-150] 151-432 [12]; (2nd book): [8]  i-xiv, 1-188. 22 plates : frontis., t.p., portrait, one folding before p. 65, two after pp. [146], [150], 282, 304, 364, 386, 414, [422], and numerous head-pieces. Size: 36 x 23.5 x 5.7 cm Binding: full calf with the later spine, raised bands; front board with remnants of gilt ruling and blind stamped border, back bord probably original with a blind-stamped centre panel with fleurons.      
  • Title: Some English Books | with Coloured Plates | Their Points Collations & Values | Art Sport Caricature | Topography & Travel | First half of the Nineteenth Century | by R. V. Tooley | […] | LONDON | INGPEN & GRANT | 1935 || Pagination: [i-vi] vii-viii, [1] 2-288, Collation: 8vo, π3 A-S8. Size: 26.3 x 20.3 cm Binding: Hardcover, brown polished cloth, bevelled boards, gilt lettering to spine, TMG, other untrimmed.
  • Title: MEMOIRS | OF | VIDOCQ. |THE | Principal Agent of the French Police. | WRITTEN BY HIMSELF, | AND TRANSLATED FROM THE | ORIGINAL FRENCH, EXPRESSLY FOR THIS EDITION. | WITH ILLUSTRATIVE ENGRAVINGS, | FROM | ORIGINAL DESIGNS BY CRUIKSHANK. | PHILADELPHIA: | T. B. PETERSON AND BROTHERS, | 306 CHESTNUT STREET. || Pagination: ffl, engraved frontispiece w/guard, engraved t.p., [2] t.p. / copyright, 19-580, [12], [2] 3-17 [18-30], bfl + 4 plates. Collation: 8vo; [1]8 2-358 362 + 22 leaves of advert., + frontis., t.p., 4 plates. Correct collation despite pagination starts at p. 19. Binding: Publisher's brown pebbled cloth, front stamped in blind, gilt spine lettering, yellow endpapers. Owner's ink inscription to ffl, dated 1936. Ref.: HathiTrust and OCLC identify the plates as 'by George Cruikshank' though none is signed. Authorship of Eugène-François Vidocq (French, 1775 – 1857) is doubtful too. The translator is not stated.
  • Title: ВСЕВОЛОДЪ СОЛОВЬЕВЪ | ВОЛХВЫ | (Граф Калиостро) | РОМАНЪ |[…]| ИЗДАНIЕ М. ДИДКОВСКАГО | Рига, Ткацкая 9 || Pagination: [1-2] 3-187 [188 blank], [4] advert., in original pictorial wrappers by Г. Дайберъ [Heinrich Deiber]. Size: 21 x 15 cm Allegedly, vol. 1st of 2 vol. edition.
  • Hardcover, serial design green buckram with gilt lettering on an embossed scroll to front cover, gilt lettering to spine. 23 x 18 cm.

    Pagination: [6] – serial h.t. / Sumerian title, t.p. / editorial board, f.t. / blank, [7] 8-212 [4], errata slip insert, 3 plates extraneous to pagination.

    Title (in black and red): ЭПОС | О | ГИЛЬГАМЕШЕ | «О ВСЕ ВИДАВШЕМ» | {device} | ПЕРЕВОД С АККАДСКОГО  | И. М. ДЬЯКОНОВА | ИЗДАТЕЛЬСТВО АКАДЕМИИ НАУК СССР | МОСКВА – ЛЕНИНГРАД | 1961 ||

    Epic of Gilgamesh translated from the Akkadian by Igor Mikhailovich Diakonoff (Russian: И́горь Миха́йлович Дья́конов; 12 January 1915 – 2 May 1999).

  • Hardcover volume in 8vo, 21.2 x 15.4 cm, tan cloth with black on gilt background circular publisher’s device "TFU" to front cover, gilt-stamped compartments and burgundy labels with gilt lettering to spine. Ink inscription to fep verso dated Jan 18, 1907. Publisher's device and serial device to h.t. Title-page: ❦❦❦ THE MEMOIRS AND | TRAVELS OF MAURITIUS AUGUSTUS COUNT DE | BENYOWSKY | IN SIBERIA, KAMCHATKA, JAPAN, THE LIUKIU ISLANDS AND FORMOSA | FROM THE TRANSLATION OF HIS | ORIGINAL MANUSCRIPT (1741–1771), | BY WILLIAM NICHOLSON, F.R.S., 1790 | EDITED BY CAPTAIN | PASFIELD OLIVER | ILLUSTRATED | LONDON: T. FISHER UNWIN, | PATERNOSTER SQUARE. MDCCCXCIII ❦❦❦ ||. Collation/Pagination: [1]-25plus 7 plates, incl. frontispiece and 1 map. [1, 2] – serial h.t. "The Adventure Series" / advert. THE ADVENTURE SERIES. Illustrated. Crown 8vo, 5s. 17 titles, [3, 4] – t.p. / blank, [5] 6-9 contents, [10] blank, [11, 12] illustrations/blank, [13] 14-52 introduction, 53-399, [400] colophon: THE GRESHAM PRESS, | URWIN BROTHERS, | CHILWORTH AND LONDON. Contributors: Publisher: T. Fisher Unwin (London); Thomas Fisher Unwin (British, 1848 – 1935). Author: Maurice Auguste count de Benyowsky [Мориц Август Бенёвский] (Polish-Slovak-Hungarian, 1746 –1786). Editor: Samuel Pasfield Oliver (British, 1838 – 1907). Translator: William Nicholson (British, 1753 – 1815). Originally published in 1790, in London (I have not seen it anywhere) and in Dublin by P. Wogan [etc.], and in 1791 in French, in Paris by Buisson; see LIB-2742.2021. For another copy of the same edition, see LIB-3139.2023. For the 1904 edition, see LIB-2703.2021.