[Mariazell]Antiquariat.de
1900réf. 55766Graz, Lit. Anst. ?Senefelder?, o. J. (um 1900). Lithographierte, einseitig bedruckte Werbekarte (15,1 x 9,9 cm).
1953réf. 53406Seattle WA & Fairplay CO: Cordillera Corporation Metals Producers Feb. 12 1953. Two works. 1st -- 4 leaves. Typescript first leaf on letterhead printed in green & black printed signature at end creasing; 2nd -- Folio. 2 pp. Numerous photo illustrations creasing from being folded NF. First editions of this prospectus and shareholder report for the Cordillera Corporation gold mining operation on North Star Mountain Colorado in the early 1950s. The illustrations and text detail how they replaced structures destroyed by lightning strike and the hard-rock mining operations. No copies located in Worldcat. Cordillera Corporation Metals Producers, unknown
1905réf. 32109Godthaab Greenland ca.1905. Winter Sports of a Greenlandic Family An attractive image showing a family of Greenlanders sledding and skiing down a hill likely produced by Lars Møller Greenland's premier printer or by Møller's youngest son Steffen. The illustration shows a family of seven Greenland natives sledding down a hill while two other youngsters ski alongside with one of the skiers in the process of falling. Other winter sports enthusiasts cavort in the distance and the stark Greenland landscape is ably depicted. Lars Møller an accomplished printer and illustrator was the dominant figure in Greenlandic printing in the last quarter of the 19th century producing much of the printed output in the country. His son Steffen succeeded his father and produced impressive works in his own right including a native language speller from which this illustration may be an example. Worn along left edge small closed tears along top and bottom edges of center fold. Two old soft secondary fold lines. Good. Knud Oldendow The Spread of Printing: Western Hemisphere Greenland Amsterdam: Vangendt & Co. 1969 pp.68-69 and passim. unknown
1905réf. 32109Godthaab Greenland ca.1905. Winter Sports of a Greenlandic Family An attractive image showing a family of Greenlanders sledding and skiing down a hill likely produced by Lars Møller Greenland's premier printer or by Møller's youngest son Steffen. The illustration shows a family of seven Greenland natives sledding down a hill while two other youngsters ski alongside with one of the skiers in the process of falling. Other winter sports enthusiasts cavort in the distance and the stark Greenland landscape is ably depicted. Lars Møller an accomplished printer and illustrator was the dominant figure in Greenlandic printing in the last quarter of the 19th century producing much of the printed output in the country. His son Steffen succeeded his father and produced impressive works in his own right including a native language speller from which this illustration may be an example. Worn along left edge small closed tears along top and bottom edges of center fold. Two old soft secondary fold lines. Good. Knud Oldendow The Spread of Printing: Western Hemisphere Greenland Amsterdam: Vangendt & Co. 1969 pp.68-69 and passim. unknown books
réf. 86003001Edo c.1700-50 n.p. Brown & silver covered boards very clean 7 double-page b.w. erotic woodblock illustrations mounted on mica flecked paper 18 x 25 cm. accordion folded illustration size: 31 x 12 cm. FIRST & ONLY UNRECORDED COPY! . . . . A VERY RARE UNRECORDED EARLY BOOK . . . A BIZARRE & UNIQUE EROTIC BOOK . . . UNSIGNED BUT CLEARLY THE WORK OF A MASTER ARTIST . BY SUKENOBU OR HIS :SCHOOL: . A unique and hitherto unfound odd and most unusual erotic book of the early-mid-18th century. One of the most bizarre erotic books ever done in Japan. . The graphically explicit work portrays men and women with genitals on their foreheads engaged in heterosexual and homosexual intercourse. There is no other book with such unusual and strange illustrations. . . THE TITLE: THE LEGEND OF AMANJAKU or AMAN NO JAKU: Chinese Title: TIAN XIE GUI YUN . THE MEANING OF AMANJAKU: Japanese Buddhist literature is abundant with variations on the theme of "Aman-No-Jaku" aka. "Amanjaku" "Manojaku" commonly understood to be a "Heavenly Evil Spirit." . This spirit or demon-like creature in Japanese folklore is usually depicted as being a male during the day and female at night. The demon is usually depicted as a kind of small Oni devil and is thought to be able to provoke a person's darkest desires and instigate him into perpetrating wicked deeds. . Amanjaku is also depicted in Chinese and Japanese mythology the AMANOJAKU is a changeling a water spirit that infiltrates the human world to play cruel tricks on people by reading their minds and twisting their requests or desires to be used against them. . The "AMANOJAKU" is also known the "Lord of the River" and in Japan serves Bishamonten one of the four Deva kings of Buddhism as a minor demon. See Wikipedia below. . In Japanese the term "Amanojaku" also refers to a person who is deliberately contradictory someone who argues for the sake of arguing or can be used in common Japanese conversation to refer to someone who is a "Perverted Demon." . THE ILLUSTRATIONS: THE BUDDHIST THEME:. This work is unusual in that the genitals of common people are located on their foreheads. A symbolist meaning can be in Buddhist concept that sex and sexual hedonism is openly on the minds of 'lay' people. The Buddha and his disciples on the other hand do not have sex organs on their foreheads meaning their organs are covered and in a different usual location. This can symbolize 'self control' over such biological energies. Devout Buddhist disregard sex as a pleasurable pastime and devote themselves to monastic focus. By contrast "lay" people are distracted with hedonistic pleasure a path away from rather than towards the Dharma or teachings of Buddhism. . In a sense this work illustrates the overwhelming force of evil or the "Amanojaku" and how it distracts people from the "Righteous Path" towards the Dharma and the ultimate goal of attaining Nirvana. It can be posited that this work is designed to give understanding to "lay" people by way of visual example of what forces direct their energies away from the Buddhist teachings in an effort to redirect them towards the "Righteous Path" and life style. . EXCEPTIONALLY RARE UNIQUE WORK: . The work is exceptionally RARE unusual and erotic there are no other example showing genitals on the foreheads of any other Japanese book cited anywhere in the bibliographic literature or record. . This work is certainly RARE in subject content and quantity. Though it was woodblock printed and unsigned which was usual for Japanese erotic works which were banned by the Shogun we have not found anything similar or recorded anywhere in the bibliography. Being woodblock printed one assumes there are other copies in existence. The average printing from woodblocks were somewhere between 100-200 copies. However in this instance no others exist. We have the strong feeling the book could have been the production of a famous Japanese illustrator and perhaps financed by a Buddhist temple again there are no known facts about this rarity. . THE EROTIC ILLUSTRATIONS: . Number 1: This work begins showing the Buddha flanked by two of his disciple monks. The title is written in four Japanese Kanji in Kambun & Chinese characters. The Buddha and his two disciples listen to two elderly Buddhist believers: one is a male he has and erect penis on his forehead. The other is a woman she has a vagina on her forehead. Neither the Buddha nor his two disciples monks show genitals on their foreheads. The couple have come to consult with the Buddha about their grievances. . Number 2: Shows a man and a woman in a Tatami matted room both wear lovely 18th century decorated Kimono. They embrace each other and are engaged in making love from their foreheads which show an erect penis and testicles inserted into the woman's forehead where her vagina is located. Adjacent to the young couple is an older woman who has become aroused by the adjacent couple's making love. The old woman uses a dildo tied to a post which she hugs while inserting the dildo into the vagina on her forehead. . Number 3: Shows a couple laying on a blanket their Kimono pulled down and opened and used as a top cover. They engage in love-making and kiss. The man has an erect penis on his forehead the woman a vagina on hers. There is some used Chirishi toilet paper just above her head on the floor used to wipe the love fluids. There is a folded package of yet unused Chirishi in readiness. Chishiri shown in Japanese Shunga erotic prints prints & paintings is an 'erotic symbol' indicative of sexual excitement with lots of love fluids flowing. Ergo the need for paper to clean up the results of erotic love-making. . Number 4 shows an adult man with an erect penis on his forehead penetrating the anus of a younger man who's smaller but erect penis is seen on his forehead as he faces his lover. The younger man has no pubic hair yet indicating his youth. . Adjacent to these two men is a woman in the next room. The door is open she is a secret voyeur of the two men. Her vagina is also on her forehead. A Shogi board and two bowls for stones is located in the front left of the illustration. Gay activities in Japanese society were accepted as a norm and were not especially unusual. However to find graphic examples in Japanese erotic books are exceptionally rare and seldom found. . Number 5: Depicts a fully clothed man on his knees he bends over a sleeping woman. He has a very large erect penis and begins to penetrate a woman with her vagina on her forehead. She is fully clothed and sleeping on a wooden "pillow" which supports her elaborate hair coiffeur. . Number 6: Depicts a lively scene of two men and a woman. One man with a very large and erect penis pulls the woman's arm toward him while she fends him off with a straight arm to his head. A second excited man also with a large and erect penis on his forehead masturbates and ejaculates in ecstasy. The woman has a vagina on her forehead. The scene is likely an intended rape of a young girl. She looks away in an effort not to allow him to pull her close enough to insert his penis into her exposed vagina. . Number 7: Illustrating a lonely old man in bed. He has an erect penis on his forehead and holds a kind of pot with a large opening. He faces down and inserts his penis into the pot for gratification. . THE TEXT: The text in Shunga erotic Japanese books & prints is often an erotic dialogue describing the erotic action. Often these words are onomatopoetic mimicking the sounds of people in orgasm or making comments about making love or the pleasure and good feelings. The size and hardness of the penis or the flavor and the juices of the vagina and its supple feelings of euphoria when engaged in love-making. All wear 18thcentury period Kimono. . MODE AND FASHION OF THE MID-18TH CENTURY: The room furnishing and Kimono of the participants in this work all wear 18th century period Kimono with period decorations. The style of Kimono and room screens reflect this period. . BINDING AND MOUNTING: Binding: The book has probably been rebound sometime after the 1750's with a more recent thin brown decorated paper with a silver chrysanthemum and a Mon family crest with gold and black on both front and rear covers. Each cover has a distinctly different kind of illustration but of the same theme. The corners and edges are a bit worn some loss to the paper as usual for a work from this period. . Mounting: At an earlier time each page was expertly mounted on a stiff Washi hand-made Japanese paper into an accordion folded book. Each illustration is bordered with a rare and stunning crushed oyster-shell powder mixed with rice-glue and overlaid on the border paper. The stunning effect is a rare shimmering pearl-like color and hue with a remarkable effect. This rare and largely unknown effect has been used for print backgrounds by some of the later masters. . This was no ordinary mounting and appropriate for an exceptionally and most unusual RARE book ! . Contents: By and large the contents are clean solid with a two old worm holes for the first 6 of 7 pages. These are small and towards the edge and does not detract from the overall quality of the illustration. On page 7 there are a few center margin old minor worm holes. All of these have been restored when the prints were laid down on the thick Washi paper creating book format. The work is otherwise solid and firm. There are a few 'rubs' on the old Washi paper which was made from very soft Kozo fibers common to any item of this period on this on handmade papers of the period. . CONDITION OF THE WOODBLOCK PRINTS: . These are very early black and white woodcut prints. Each print has an excellent and vivid impression key blocks are black and superbly printed with strong images. The paper is old and has the patina of paper from that age the usual minor mild surface rubbing or thumbing in the lower corners which is common. . We tend to be overly critical of any flaws found on our books and believe it is better to overly describe rather than avoid such discussion any imperfections. Suffice to say by and large this is an excellent item in very nice condition something that any collector or museum would be proud to own. Please review photos posted to our website. . R A R I T Y OF SUBJECT: The placement of the genitals on the forehead gives one a lot of room to theorize on the meaning of such artistic expression. In our 50 years of experience in dealing Japanese woodblock printed books and painted original art this is the first and only example with such imaginative and symbolist expression. With the beginning of the work showing the Buddha and his two disciples lacking any genitals on their foreheads one can simply assume that in a Buddhist way they have given up carnal desire as represented by common people who's foreheads display genitals perhaps meaning that sex is on their minds or they simply view others as sexual objects eager to make love and engage in carnal thoughts and activities. Obviously seeing an erect penis on some man whiles others see what he thinks and feels is an insight to his innermost thoughts and desires. In all cases in this book the men all show an erect penis. The women are a bit more difficult to fathom. Their vaginas are simply visible on their foreheads and no fluids are visible or other evidence of their carnal desire or sexually excited stated. All of the men have public hair adjacent to their sex organs while all women are lacking any pubic hair completely. This is an erotic symbolism giving full view to women's genitals. . "BANNED" or "PROHIBITED" BOOKS: Shun Pon Haru Bon: In the case of this item it is very likely that it was printed in a much smaller discreet quantity than the 200 copies possible off the blocks. Due to the "banned" nature of such books there is no date publisher nor place cited. One is simply left to determine the date and artist by stylistic analysis. It is well-known that during the Tokugawa period 1603-1868 erotic prints and books were "BANNED" or "PROHIBITED" by decree of the Shogun. One of the influencing factors was that during this period some Shoguns were changing their views and being influenced by Christians who entered Japan during this period. The Shogun did not want foreigners and Jesuit missionaries to think that Japan was a crass and base nation. Naturally foreigners soon learned that prostitution was rampant and so this strange logic from the Shogun never had much affect on the Christians and surely not on the Japanese. . The Shogun enforced severe punishments for persons involved in drawing printing carving blocks and publishing erotic books and prints. With out the "Kiwame" or censor's approval seal all such items were "Banned" outright by the Shogun decree. . While these "Prohibited" books and prints were widely circulated in an "underground" society there are ample examples of famous artists taking on commissions to produce erotic books and prints fun or profit. The record and bibliography is loaded with these examples. "Banning" such erotic works simply meant that the number printed were limited to smaller numbers and distribution was done under the table discretely circulating such books privately among collectors. During these times it was not necessary for artists to sign their such artistic creations by-and-large the population had a very good idea who the artist was by being familiar with their style and other works it was simply a "public secret" who the artist was. Often the artist poked fun at the Shogun with political jokes and assumed names to confound any chance of being discovered by the authorities. . Over the centuries this knowledge decreased and is now the domain of the art historian or scholar to identify and determine the actual artist. Stylistic analysis remains the standard method for unsigned works. . THE ARTIST/SCHOOLS: While there are no signatures or seals indicating the artist's name or even his alternate Go studio name we believe this work is part of the "Primitives and First Century of Ukiyo-e School 1660-1765" period. See Lane below. The women's coiffeur is very similar to those found in this period as well as the drawing style technique and genre. It is this cataloger's opinion that this work was likely the creation of one of the Moronobu School masters. Perhaps done by Sukenobu Yoshikiyo Morishige Sugimura Moronobu Kiyonobu Masanobu or others from this period. We believe this work was likely done from around 1710-1750. It was also likely that it was done by one of the artists listed below. . LIKELY ARTIST ATTRIBUTION: . MORONOBU SUKENOBU SCHOOL: Nishikawa Sukenobu 1671 -August 20 1750 often called simply "Sukenobu" was a Japanese printmaker from Kyoto. He was unusual for a Ukiyo-e in being based in the imperial capital of Kyoto. He did prints of actors but gained note for his works concerning women. His Hyakunin Joro Shinasadame: Appreciating 100 Women in two volumes published in 1723 depicted women of all classes from the empress to prostitutes and received favorable results His Hyakunin Joro Shinasadame: Appreciating 100 women in two volumes published in 1723 depicted women of all classes from the empress to prostitutes and received favorable results Leading members of this school were: Nishikawa Sukenobu the founder; Nishikawa Suketada; Kawashima Nobukiyo; Nishikawa Terunobu; and Takagi Sadatake. . NISHIKAWA MORONOBU SCHOOL: Nishikawa Moronobu 1618-July 25 1694 was a Japanese painter and printmaker known for his advancement of the Ukiyo-e woodcut style starting in the 1670s. Leading members of the MORONOBU school were: Nishikawa Moronobu the founder; Hishikawa Morofusa; Hishikawa Moroyoshi; Hishikawa Moronaga; Hishikawa Moroshige; Hishikawa Morohira; and Tamazaki Ryujo. . BIBLIOGRAPHY: . This title is NOT listed in any of the below resources: SHIBUI Kiyoshi. UKIYO-E NAISHI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. H. KERLEN. CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS. Richard Lane: IMAGES FROM THE FLOATING WORLD THE JAPANESE PRINT; pages 28 40-60 show examples of the Ukiyo-e primitives 1660-1765 especially the Moronobu school pp.60-88 et al. . NOT LISTED IN: . KSM SHIBUI Kiyoshi: UKIYO-E NAISI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. Modern Reading: UKIYO-E NAISHI KERLEN H.: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS. Not in any other usual bibliographies on Japanese E-hon woodblock printed books. . See: WIKIPEDIA:. unknown
réf. 86003001Edo c.1700-50 n.p. Brown & silver covered boards very clean 7 double-page b.w. erotic woodblock illustrations mounted on mica flecked paper 18 x 25 cm. accordion folded illustration size: 31 x 12 cm. FIRST & ONLY UNRECORDED COPY! . . . . A VERY RARE UNRECORDED EARLY BOOK . . . A BIZARRE & UNIQUE EROTIC BOOK . . . UNSIGNED BUT CLEARLY THE WORK OF A MASTER ARTIST . BY SUKENOBU OR HIS :SCHOOL: . A unique and hitherto unfound odd and most unusual erotic book of the early-mid-18th century. One of the most bizarre erotic books ever done in Japan. . The graphically explicit work portrays men and women with genitals on their foreheads engaged in heterosexual and homosexual intercourse. There is no other book with such unusual and strange illustrations. . . THE TITLE: THE LEGEND OF AMANJAKU or AMAN NO JAKU: Chinese Title: TIAN XIE GUI YUN . THE MEANING OF AMANJAKU: Japanese Buddhist literature is abundant with variations on the theme of "Aman-No-Jaku" aka. "Amanjaku" "Manojaku" commonly understood to be a "Heavenly Evil Spirit." . This spirit or demon-like creature in Japanese folklore is usually depicted as being a male during the day and female at night. The demon is usually depicted as a kind of small Oni devil and is thought to be able to provoke a person's darkest desires and instigate him into perpetrating wicked deeds. . Amanjaku is also depicted in Chinese and Japanese mythology the AMANOJAKU is a changeling a water spirit that infiltrates the human world to play cruel tricks on people by reading their minds and twisting their requests or desires to be used against them. . The "AMANOJAKU" is also known the "Lord of the River" and in Japan serves Bishamonten one of the four Deva kings of Buddhism as a minor demon. See Wikipedia below. . In Japanese the term "Amanojaku" also refers to a person who is deliberately contradictory someone who argues for the sake of arguing or can be used in common Japanese conversation to refer to someone who is a "Perverted Demon." . THE ILLUSTRATIONS: THE BUDDHIST THEME:. This work is unusual in that the genitals of common people are located on their foreheads. A symbolist meaning can be in Buddhist concept that sex and sexual hedonism is openly on the minds of 'lay' people. The Buddha and his disciples on the other hand do not have sex organs on their foreheads meaning their organs are covered and in a different usual location. This can symbolize 'self control' over such biological energies. Devout Buddhist disregard sex as a pleasurable pastime and devote themselves to monastic focus. By contrast "lay" people are distracted with hedonistic pleasure a path away from rather than towards the Dharma or teachings of Buddhism. . In a sense this work illustrates the overwhelming force of evil or the "Amanojaku" and how it distracts people from the "Righteous Path" towards the Dharma and the ultimate goal of attaining Nirvana. It can be posited that this work is designed to give understanding to "lay" people by way of visual example of what forces direct their energies away from the Buddhist teachings in an effort to redirect them towards the "Righteous Path" and life style. . EXCEPTIONALLY RARE UNIQUE WORK: . The work is exceptionally RARE unusual and erotic there are no other example showing genitals on the foreheads of any other Japanese book cited anywhere in the bibliographic literature or record. . This work is certainly RARE in subject content and quantity. Though it was woodblock printed and unsigned which was usual for Japanese erotic works which were banned by the Shogun we have not found anything similar or recorded anywhere in the bibliography. Being woodblock printed one assumes there are other copies in existence. The average printing from woodblocks were somewhere between 100-200 copies. However in this instance no others exist. We have the strong feeling the book could have been the production of a famous Japanese illustrator and perhaps financed by a Buddhist temple again there are no known facts about this rarity. . THE EROTIC ILLUSTRATIONS: . Number 1: This work begins showing the Buddha flanked by two of his disciple monks. The title is written in four Japanese Kanji in Kambun & Chinese characters. The Buddha and his two disciples listen to two elderly Buddhist believers: one is a male he has and erect penis on his forehead. The other is a woman she has a vagina on her forehead. Neither the Buddha nor his two disciples monks show genitals on their foreheads. The couple have come to consult with the Buddha about their grievances. . Number 2: Shows a man and a woman in a Tatami matted room both wear lovely 18th century decorated Kimono. They embrace each other and are engaged in making love from their foreheads which show an erect penis and testicles inserted into the woman's forehead where her vagina is located. Adjacent to the young couple is an older woman who has become aroused by the adjacent couple's making love. The old woman uses a dildo tied to a post which she hugs while inserting the dildo into the vagina on her forehead. . Number 3: Shows a couple laying on a blanket their Kimono pulled down and opened and used as a top cover. They engage in love-making and kiss. The man has an erect penis on his forehead the woman a vagina on hers. There is some used Chirishi toilet paper just above her head on the floor used to wipe the love fluids. There is a folded package of yet unused Chirishi in readiness. Chishiri shown in Japanese Shunga erotic prints prints & paintings is an 'erotic symbol' indicative of sexual excitement with lots of love fluids flowing. Ergo the need for paper to clean up the results of erotic love-making. . Number 4 shows an adult man with an erect penis on his forehead penetrating the anus of a younger man who's smaller but erect penis is seen on his forehead as he faces his lover. The younger man has no pubic hair yet indicating his youth. . Adjacent to these two men is a woman in the next room. The door is open she is a secret voyeur of the two men. Her vagina is also on her forehead. A Shogi board and two bowls for stones is located in the front left of the illustration. Gay activities in Japanese society were accepted as a norm and were not especially unusual. However to find graphic examples in Japanese erotic books are exceptionally rare and seldom found. . Number 5: Depicts a fully clothed man on his knees he bends over a sleeping woman. He has a very large erect penis and begins to penetrate a woman with her vagina on her forehead. She is fully clothed and sleeping on a wooden "pillow" which supports her elaborate hair coiffeur. . Number 6: Depicts a lively scene of two men and a woman. One man with a very large and erect penis pulls the woman's arm toward him while she fends him off with a straight arm to his head. A second excited man also with a large and erect penis on his forehead masturbates and ejaculates in ecstasy. The woman has a vagina on her forehead. The scene is likely an intended rape of a young girl. She looks away in an effort not to allow him to pull her close enough to insert his penis into her exposed vagina. . Number 7: Illustrating a lonely old man in bed. He has an erect penis on his forehead and holds a kind of pot with a large opening. He faces down and inserts his penis into the pot for gratification. . THE TEXT: The text in Shunga erotic Japanese books & prints is often an erotic dialogue describing the erotic action. Often these words are onomatopoetic mimicking the sounds of people in orgasm or making comments about making love or the pleasure and good feelings. The size and hardness of the penis or the flavor and the juices of the vagina and its supple feelings of euphoria when engaged in love-making. All wear 18thcentury period Kimono. . MODE AND FASHION OF THE MID-18TH CENTURY: The room furnishing and Kimono of the participants in this work all wear 18th century period Kimono with period decorations. The style of Kimono and room screens reflect this period. . BINDING AND MOUNTING: Binding: The book has probably been rebound sometime after the 1750's with a more recent thin brown decorated paper with a silver chrysanthemum and a Mon family crest with gold and black on both front and rear covers. Each cover has a distinctly different kind of illustration but of the same theme. The corners and edges are a bit worn some loss to the paper as usual for a work from this period. . Mounting: At an earlier time each page was expertly mounted on a stiff Washi hand-made Japanese paper into an accordion folded book. Each illustration is bordered with a rare and stunning crushed oyster-shell powder mixed with rice-glue and overlaid on the border paper. The stunning effect is a rare shimmering pearl-like color and hue with a remarkable effect. This rare and largely unknown effect has been used for print backgrounds by some of the later masters. . This was no ordinary mounting and appropriate for an exceptionally and most unusual RARE book ! . Contents: By and large the contents are clean solid with a two old worm holes for the first 6 of 7 pages. These are small and towards the edge and does not detract from the overall quality of the illustration. On page 7 there are a few center margin old minor worm holes. All of these have been restored when the prints were laid down on the thick Washi paper creating book format. The work is otherwise solid and firm. There are a few 'rubs' on the old Washi paper which was made from very soft Kozo fibers common to any item of this period on this on handmade papers of the period. . CONDITION OF THE WOODBLOCK PRINTS: . These are very early black and white woodcut prints. Each print has an excellent and vivid impression key blocks are black and superbly printed with strong images. The paper is old and has the patina of paper from that age the usual minor mild surface rubbing or thumbing in the lower corners which is common. . We tend to be overly critical of any flaws found on our books and believe it is better to overly describe rather than avoid such discussion any imperfections. Suffice to say by and large this is an excellent item in very nice condition something that any collector or museum would be proud to own. Please review photos posted to our website. . R A R I T Y OF SUBJECT: The placement of the genitals on the forehead gives one a lot of room to theorize on the meaning of such artistic expression. In our 50 years of experience in dealing Japanese woodblock printed books and painted original art this is the first and only example with such imaginative and symbolist expression. With the beginning of the work showing the Buddha and his two disciples lacking any genitals on their foreheads one can simply assume that in a Buddhist way they have given up carnal desire as represented by common people who's foreheads display genitals perhaps meaning that sex is on their minds or they simply view others as sexual objects eager to make love and engage in carnal thoughts and activities. Obviously seeing an erect penis on some man whiles others see what he thinks and feels is an insight to his innermost thoughts and desires. In all cases in this book the men all show an erect penis. The women are a bit more difficult to fathom. Their vaginas are simply visible on their foreheads and no fluids are visible or other evidence of their carnal desire or sexually excited stated. All of the men have public hair adjacent to their sex organs while all women are lacking any pubic hair completely. This is an erotic symbolism giving full view to women's genitals. . "BANNED" or "PROHIBITED" BOOKS: Shun Pon Haru Bon: In the case of this item it is very likely that it was printed in a much smaller discreet quantity than the 200 copies possible off the blocks. Due to the "banned" nature of such books there is no date publisher nor place cited. One is simply left to determine the date and artist by stylistic analysis. It is well-known that during the Tokugawa period 1603-1868 erotic prints and books were "BANNED" or "PROHIBITED" by decree of the Shogun. One of the influencing factors was that during this period some Shoguns were changing their views and being influenced by Christians who entered Japan during this period. The Shogun did not want foreigners and Jesuit missionaries to think that Japan was a crass and base nation. Naturally foreigners soon learned that prostitution was rampant and so this strange logic from the Shogun never had much affect on the Christians and surely not on the Japanese. . The Shogun enforced severe punishments for persons involved in drawing printing carving blocks and publishing erotic books and prints. With out the "Kiwame" or censor's approval seal all such items were "Banned" outright by the Shogun decree. . While these "Prohibited" books and prints were widely circulated in an "underground" society there are ample examples of famous artists taking on commissions to produce erotic books and prints fun or profit. The record and bibliography is loaded with these examples. "Banning" such erotic works simply meant that the number printed were limited to smaller numbers and distribution was done under the table discretely circulating such books privately among collectors. During these times it was not necessary for artists to sign their such artistic creations by-and-large the population had a very good idea who the artist was by being familiar with their style and other works it was simply a "public secret" who the artist was. Often the artist poked fun at the Shogun with political jokes and assumed names to confound any chance of being discovered by the authorities. . Over the centuries this knowledge decreased and is now the domain of the art historian or scholar to identify and determine the actual artist. Stylistic analysis remains the standard method for unsigned works. . THE ARTIST/SCHOOLS: While there are no signatures or seals indicating the artist's name or even his alternate Go studio name we believe this work is part of the "Primitives and First Century of Ukiyo-e School 1660-1765" period. See Lane below. The women's coiffeur is very similar to those found in this period as well as the drawing style technique and genre. It is this cataloger's opinion that this work was likely the creation of one of the Moronobu School masters. Perhaps done by Sukenobu Yoshikiyo Morishige Sugimura Moronobu Kiyonobu Masanobu or others from this period. We believe this work was likely done from around 1710-1750. It was also likely that it was done by one of the artists listed below. . LIKELY ARTIST ATTRIBUTION: . MORONOBU SUKENOBU SCHOOL: Nishikawa Sukenobu 1671 -August 20 1750 often called simply "Sukenobu" was a Japanese printmaker from Kyoto. He was unusual for a Ukiyo-e in being based in the imperial capital of Kyoto. He did prints of actors but gained note for his works concerning women. His Hyakunin Joro Shinasadame: Appreciating 100 Women in two volumes published in 1723 depicted women of all classes from the empress to prostitutes and received favorable results His Hyakunin Joro Shinasadame: Appreciating 100 women in two volumes published in 1723 depicted women of all classes from the empress to prostitutes and received favorable results Leading members of this school were: Nishikawa Sukenobu the founder; Nishikawa Suketada; Kawashima Nobukiyo; Nishikawa Terunobu; and Takagi Sadatake. . NISHIKAWA MORONOBU SCHOOL: Nishikawa Moronobu 1618-July 25 1694 was a Japanese painter and printmaker known for his advancement of the Ukiyo-e woodcut style starting in the 1670s. Leading members of the MORONOBU school were: Nishikawa Moronobu the founder; Hishikawa Morofusa; Hishikawa Moroyoshi; Hishikawa Moronaga; Hishikawa Moroshige; Hishikawa Morohira; and Tamazaki Ryujo. . BIBLIOGRAPHY: . This title is NOT listed in any of the below resources: SHIBUI Kiyoshi. UKIYO-E NAISHI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. H. KERLEN. CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS. Richard Lane: IMAGES FROM THE FLOATING WORLD THE JAPANESE PRINT; pages 28 40-60 show examples of the Ukiyo-e primitives 1660-1765 especially the Moronobu school pp.60-88 et al. . NOT LISTED IN: . KSM SHIBUI Kiyoshi: UKIYO-E NAISI. BIBLIOGRAPHY OF JAPANESE EROTIC ILLUSTRATED WOODBLOCK PRINTED BOOKS. Modern Reading: UKIYO-E NAISHI KERLEN H.: CATALOGUE OF PRE-MEIJI JAPANESE BOOKS & MAPS IN PUBLIC COLLECTIONS IN THE NETHERLANDS. Not in any other usual bibliographies on Japanese E-hon woodblock printed books. . See: WIKIPEDIA:. unknown books
1987réf. 6501Nevada City CA: Gateways 1987. First edition number 61 of 100 signed copies. 4to 83pp recto only. Each page consists of a hand-pulled lithograph by the artist. Signed by Gold at the colophon. Black leatherette cloth boards with gilt lettering on front cover and spine. Lightly bumped at upper corner and head of spine. Near fine. One of the more scarce volumes from E.J. Gold's Secret Talks series this being made up entirely of Gold's original art. These books were written by Gold in the 70s and 80s and privately published in a small number and sold on a subscription basis. The series prints talks and writings given by Gold which revolve around the mystical teachings of Gurdjieff. Titles include The Human Biological Machine as a Transformational Apparatus Objective Prayer The Seven Bodies of Man Science of Objective Hypnotism Angelic Invocation and others. Quite an impressive volume as an art book completely hand printed by the artist and a very rare volume in this important mysticism series from Gold. . Gateways unknown
2014réf. 29613New York:: Pegasus Books 2014. First Printing of the First US Edition. A Fine tight copy in a Fine unclipped dust jacket. Chasing Gold is the story of how the Nazis attempted to grab Europe’s gold to finance history’s bloodiest war. The story is filled with high drama and close escapes laying bare the palate of human emotions. Walking through the tale are giants of world history as well as ordinary people called upon to undertake heroic action in an extraordinary time. Pegasus Books, unknown
1609réf. A86ACTMRTZ41Franc end al" = Amsterdam: Frederijck de Vrije" 1609. Disbound. Small 4to. Poems celebrating the truce with Spain though attributed to a former opponent of the truce with the Dutch poems in textura types and Latin marginal notes in roman. A political pamphlet in verse celebrating peace and dated less than a month before the signing of the Twelve Years' Truce between Spain and the Dutch Republic. The main poem takes the form of a "codicil" to War's "last will and testament." It recites the various legacies both good and bad that the War has left to people on both sides and even to people and countries not directly involved in the fighting. Asher mistakenly lists the present pamphlet as no. 11 in the Bye-Korf series: it was published about six months after the Bye-Korf was banned but later collectors often inserted it and the associated Testament in place of the earlier Testament which should have been Asher 26-28/10. The author place of publication and publisher given on the title-page are all word plays "Yemand van Waer-Mond" for example suggesting "someone of honest mouth." The STCN attributes the pamphlet with a query to Nierop who propagandized against peace in one of the Bye-Korf pamphlets Asher 28/37 but rejoiced in it once it came. Alden & Landis attributes the associated Testament ofte Wtersten Wille to Middelgeest. The poet's four-line verse on the back of the title-page is signed with the motto: "Yet Meer en mocht/Min en docht Niet."A nice view of popular feelings about the Truce just before it formally took effect.With some tears at the fold of the outermost bifolium and only slightly browned otherwise a very good copy.l Asher 26-28/11; Knuttel 1584; Simoni W 34; Tiele 751; OCLC WorldCat 3 copies. Frederijck de Vrije", unknown
réf. 15218Without place or date. 1840s. 10pp. 8vo. On five leaves torn from a notebook. In fair condition on aged and lightly-worn paper. A creditable effort showing the influence of Gray's 'Elegy' and Goldsmith's 'Deserted Village' describing the unnamed farm hand's funeral and reflecting on the virtues and hardships of the poor. Begins: 'From yonder peaceful and secluded dell Snug in the bosom of th'encircling hills The perfumed Zephyr bears a passing knell And melancholy o'er the Soul distils. It tells us hoary Time's unswerving flight Has snapped the thread of Life's uncertain span; And that grim Death with his relentless might Has swung his sickle through th'abode of man.' Care has been taken in the revision of the text with emendations including several passages deleted and replaced. The poem ends abruptly on the tenth page suggesting that it is not complete: 'Then comes the happy and eventful day When scarce-used clothes once more are brought to view'. Without place or date. [1840s?] hardcover
réf. 49770Albumen print photograph carte de visite format 63 x 103 mm; verso with a fully contemporary inscription in ink: 'Mount gambier Hospitle'; the print has lost some contrast but is otherwise in good condition as is the mount. This carte was sourced with others taken by travelling photographer J. T. Ginnings. However the State Library of South Australia holds a very similar carte de visite view of the Mount Gambier Hospital that was taken about the same time by Joseph H. Nixon: 'Photograph of the first Mount Gambier Hospital which was established in 1869 and demolished in 1971. The building was designed by Government Architect Robert George Thomas between 1867-69. The hospital was built of stone in the Italian gothic style featuring towers and cloistered verandahs. The two storey stately building had two wings and was typical of the Victorian era with decorative dressings around the doors windows cupolas large ornate chimneys and even featured a widow's walk. The foundation stone was laid in February 1867 by James C Lyon' SLSA B11414. unknown
1950réf. 8858Philadelphia: The Drake Press 1950. Staplebound. Near fine. 16mo 23pp. illustrated. Near fine in the publisher's stapled wraps with only very mild edgewear. A surprisingly scarce booze-centric periodical which appears to be geared towards bartenders or bar owners. Several mildly lewd comics and a number of drink recipes make up the bulk of the contents along with a few liquor advertisements. OCLC records just three partial holdings for "The Jigger" at U. of Rochester Ohio State and Virginia Tech. Scarce in commerce. The Drake Press unknown
réf. 662050S.l., De l'Imprimerie Nationale, s.d. in-8, 6 pp., dérelié.
réf. 201223048Paris, Edition gp bibliotheque rouge et or, 1950 ; in-8, 165 pp., cartonnage de l'éditeur. Illustrations de Calvo.
1912réf. 64223Portland OR: American Map and Reproducing Company Corner E. Stark & E. 43rd 1912. One double atlas folio colour lithograph map sized 28 x 40.5 professionally mounted on archival linen sized 32 x 45 in. w/ scale of 1:24000 minor edgewear slight age toning at fore-edges and lower corner still a VG bright copy. First edition of this very uncommon Progressive Era map of Portland Oregon in the years between the Lewis & Clark Centennial Exposition and World War I. The map depicts public lands including township range and section grids along with neighborhood and addition place names steam & electric interurban railroads and electric streetcar lines along with parks city limits and radial distances from point in downtown Portland included. Place names included Zion Town the old steel bridge built in 1888 followed by a new Steel bridge which opened later in 1912 the Plank/Old Canyon Road Laurelhurst and others. Of particular interest beyond most maps of Portland during the era this map delineates a significant portion of Vancouver Washington prior to the construction of the Interstate Bridge across Hayden Island as well as inroads into portions of Northwest Portland and Washington County in the Southwest. Fritsche 1877-1928 was an intrepid German-American photo-lithographer architect printer and later photographer who first arrived in New York before coming West to the Pacific Northwest in 1907 where he set up an architecture and engraving firm with his brother Rudolph Fritsche. Wenzel is perhaps best remembered as architect of the historic Henry C. & Wilhemina Bruening House Craftsman bungalow located at 5919 North Williams in Portland’s Humboldt neighborhood erected in 1910. However by 1914 Wenzel had returned to Manhattan with his family including one son and three daughters. Worldcat locates 5 copies U of IL Boston Pub. OHS Reed U of O. American Map and Reproducing Company, [Corner E. Stark & E. 43rd], unknown
1805réf. 59752Waitsfield Vermont 1805. Narrow tall folio approx. 15½" x 6¾" 112 pp. in ink five separately sewn signatures; a few pages loose some pages darkened or chipped at edges; some entries faint. This account book is the record of the practice of either Stephen Pierce or Simeon Stoddard practicing in Waitsfield Vermont between 1795 and 1806. These were the second and third physicians to have settled and practiced in Waitsfield. Most likely it is the record of Pierce who is supposed to have settled in Waitsfield in 1795. The first physician in Waitsfield Moses Heaton remained there only between 1793 and 1796. Depending on the source Pierce was the third physician to practice in Waitsfield and/or the first to practice in Moretown a settlement to the northeast of Waitsfield. He farmed as well as doctored and his farm lay mostly in Moretown his office in Waitsfield. He was a respected and successful physician who served the community in other capacities: as selectman representative delegate to the Constitutional Convention of 1814 and Assistant Judge of the County Court. One source claims that he succeeded Judge Kinne December 1 1814 and served one year and that he was a justice of the peace in Waitsfield. He died either in 1854 after living in Waterbury and Berlin Vermont or he died in Barnard in 1864. See: History of the Town of Waitsfield Vermont 1782-1908 by Matt Bushnell Jones Boston 1909 p. 182. Simeon Stoddard on the other hand was born December 12 1761 either in Saybrook Connecticut or in Waitsfield. On August 19 1784 he married Abiah Thompson who had been born in 1763 in Waitsfield. Some sources state that he moved to Waitsfield from Saybrook in 1794. He served the southwestern area of Waitsfield and died in 1841. This account book records each date of visit the householder's name the relationship of patient to householder the medicine prescribed and its price and the cost of the doctor's visit. The doctor whether it be Stoddard or Pierce treated thirty to forty patients each month and as many as fifty-six in December of 1801. He charged as little as 4 pence and as much as 42 shillings 10 pence for his services. As a comparison the tax on an acre of land in Waitsfield was 2 pence an acre. The poll tax list of 1795 showed fifty voters so the doctor seems to have treated the members of nearly every family. The diseases treated are not stated in the entries made but he seems to have prescribed antimonium tartaricum in many instances and also digitalis. Waitsfield was founded by Col. Benjamin Wait or Waite and others who were granted a charter on February 25 1782. Wait had served under Gen. Jeffery Amherst in the French and Indian Wars and had fought in the Revolutionary War. Both Waitsfield and Moretown are now somewhat renowned as the areas around Mad River a popular ski resort. Mad River has been remarkable from the settling of the area as the source of numerous sudden destructive and deadly floods. The Green Mountains the northern extent of the Appalachians rise just to the west of the town. The doctor records having treated members of the Wait family including Benjamin's wife Martha d. April 3 1804 Ezra Thomas and Gilbert. The family names of the community are listed making this a good source for early settlement history and genealogical research. Among the householders who required the doctor's services are Smolly Skinner Taylor Spalding Hitchcock Parkhurst Carpenter the family had a tannery and potash works Heaton Burdick Johnson Rider Fuller Symonds McNight Chamberlain Atherton Lyon Butterfield Barnave Osgood Foster Hobson Robinson Brun Latimer and Sherman. Many of the names appear often. unknown
1805réf. 59752Waitsfield Vermont 1805. Narrow tall folio approx. 15½" x 6¾" 112 pp. in ink five separately sewn signatures; a few pages loose some pages darkened or chipped at edges; some entries faint. This account book is the record of the practice of either Stephen Pierce or Simeon Stoddard practicing in Waitsfield Vermont between 1795 and 1806. These were the second and third physicians to have settled and practiced in Waitsfield. Most likely it is the record of Pierce who is supposed to have settled in Waitsfield in 1795. The first physician in Waitsfield Moses Heaton remained there only between 1793 and 1796. Depending on the source Pierce was the third physician to practice in Waitsfield and/or the first to practice in Moretown a settlement to the northeast of Waitsfield. He farmed as well as doctored and his farm lay mostly in Moretown his office in Waitsfield. He was a respected and successful physician who served the community in other capacities: as selectman representative delegate to the Constitutional Convention of 1814 and Assistant Judge of the County Court. One source claims that he succeeded Judge Kinne December 1 1814 and served one year and that he was a justice of the peace in Waitsfield. He died either in 1854 after living in Waterbury and Berlin Vermont or he died in Barnard in 1864. See: History of the Town of Waitsfield Vermont 1782-1908 by Matt Bushnell Jones Boston 1909 p. 182. Simeon Stoddard on the other hand was born December 12 1761 either in Saybrook Connecticut or in Waitsfield. On August 19 1784 he married Abiah Thompson who had been born in 1763 in Waitsfield. Some sources state that he moved to Waitsfield from Saybrook in 1794. He served the southwestern area of Waitsfield and died in 1841. This account book records each date of visit the householder's name the relationship of patient to householder the medicine prescribed and its price and the cost of the doctor's visit. The doctor whether it be Stoddard or Pierce treated thirty to forty patients each month and as many as fifty-six in December of 1801. He charged as little as 4 pence and as much as 42 shillings 10 pence for his services. As a comparison the tax on an acre of land in Waitsfield was 2 pence an acre. The poll tax list of 1795 showed fifty voters so the doctor seems to have treated the members of nearly every family. The diseases treated are not stated in the entries made but he seems to have prescribed antimonium tartaricum in many instances and also digitalis. Waitsfield was founded by Col. Benjamin Wait or Waite and others who were granted a charter on February 25 1782. Wait had served under Gen. Jeffery Amherst in the French and Indian Wars and had fought in the Revolutionary War. Both Waitsfield and Moretown are now somewhat renowned as the areas around Mad River a popular ski resort. Mad River has been remarkable from the settling of the area as the source of numerous sudden destructive and deadly floods. The Green Mountains the northern extent of the Appalachians rise just to the west of the town. The doctor records having treated members of the Wait family including Benjamin's wife Martha d. April 3 1804 Ezra Thomas and Gilbert. The family names of the community are listed making this a good source for early settlement history and genealogical research. Among the householders who required the doctor's services are Smolly Skinner Taylor Spalding Hitchcock Parkhurst Carpenter the family had a tannery and potash works Heaton Burdick Johnson Rider Fuller Symonds McNight Chamberlain Atherton Lyon Butterfield Barnave Osgood Foster Hobson Robinson Brun Latimer and Sherman. Many of the names appear often. unknown books
1890réf. 4738Portland: F. W. Baltes & Co. Printing House 1890. 12mo 16 x 10cm 1 39 1 plus 12 leaves of ruled paper for notes pagination includes covers. Printed on white and pink paper with illustrations throughout single fold out advertisement on yellow cardstock. Original blue paper boards lettered in gilt show chipping along spine and wear to edges else clean and complete. The first leaf of notepaper has been used to work on some spelling/vocabulary words and a few math story problems involving farmland and bushels of corn by the former owner. Scarce pocket business directory for Portland Oregon courtesy of Palmer & Rey Type & Founders who were advertised to have kept "the only stock of type job and Cylinder presses and printing material in the Northwest" at the time. Not in OCLC as of March 2022. F. W. Baltes & Co. Printing House unknown
réf. 3733512Atlanta: Foote & Davies 1892. Small 8vo. Frontis. 41 1pp. Pictorial wraps with later tape reinforcement to spine small tears and light soil. With a two-page introduction by William Tertsh Whilden Williamston Female College professor. Written through the lens of the “Lost Cause” ideology this life sketch of Juno Waller Seymour d. 1883 was crafted by a member of the Whilden family of Charleston South Carolina—possibly Ellen Ann Whilden 1822–1895 or W.G. Whilden to whom she was enslaved as a domestic servant. While presented as a memorial tribute to Seymour’s life its text blends plantation and evangelistic literature folklore and perhaps occasional kernels of biographical truth. According to the narrative Seymour’s given name was Cumba and she claimed her lineage as a member of West Africa’s Fula tribe and the daughter of a king. She was captured by slavers as a child and initially brought to the French colony of St. Domingue now Haiti. Amidst the tumultuous backdrop of Toussaint Louverture’s Revolution she was sold and transported to Charleston in 1800 where she came under the ownership of Bayfield Waller a city merchant. Seymour was subsequently given to the prominent Whilden family with Joseph Whilden Bayfield Waller’s stepson and co-founder of the City Gazette and Advertiser in 1816 serving as the family patriarch. To the Whildens she became known as “Maumer Juno” or “Maum Juno.” Apart from tending to her daily domestic duties Seymour looked after the growing family’s children and continued to do so across several generations. The front wrapper and frontispiece of the Life of Maumer Juno feature an identical image of Maumer Juno gently cradling a baby in her arms accompanied by the caption “Minding the great great-daughter of her first owner 1853.” Known as the “chattel Madonna formula” this visual motif was employed by 19th-century photographers to portray enslaved African American women as the benevolent care-takers to the children of their enslavers. Matthew Fox-Amato Support for this construct is found in elsewhere in the text but in words not images. In one passage Seymour is found to be “surprised and delighted when for the first time a tiny white babe was placed in her arms.” Seymour’s exuberant expression of joy is juxtaposed with a passage elsewhere in the text that underscores the fact that she never bore any children with her enslaved husband. Enlarging the “Madonna formula” further Seymour is posthumously labeled by the author as being a “saint of African birth” on the day of her funeral. This resonates with the author’s intention of depicting this faithful yet enslaved servant as deeply religious truly Christian and in fact purified as exemplified in an earlier passage where Seymour declares “I am black outside but inside I am white for every day my heart is washed in blood.” Following the primary text there is an additional seven-page profile of Seymour penned by “Mrs. J.C.H.” The reliability of this white woman’s observations seem questionable as when she writes: “She Seymour told me that when first dressed in our clothing she thought she was being prepared for sacrifice and fled away hiding in an outhouse while she took off her garments tearing them almost into ribbons in her fright.” p30 Still at least one observation may be deemed reliable such as this passage: “Of her native land she talked often and as the days of her pilgrimage lengthened her memories grew more bright and strong of her life in the far-away land. The customs of her people their worship of the new moon the wearing of cloth their method of preparing food all seemed vivid mental pictures…” p30 LCP Afro-Americana 5921. See the image “Old Maumer selling Groundnut candy in the Streets of Charleston” taken by G.N. Barnard 1819–1902 South Carolina photographer. unknown
1957réf. 110131Office des Libraires de Bord, n° 21 1957 Dos muet. In-8 broché 22,5 cm sur 15;5. 62 pages. Bon état d’occasion.
réf. RGW22491Hardcover. Very good. 6 engraved plates one folding; 368pp; small tears at foot of title. 8vo 19th century French calf gilt spine with raised bands slight wear chipped at head of spine Volume with fine engravings from a large collection of short stories. No Jacket issued hardcover
1837réf. 626988Philadelphia: The Liberal Union 1837. xvii 2 20-118 pp. missing page 119 1. Black leather spine with gilt titling and marbled endpapers; "Printed at the Office of the National Laborer". Heavy wear and chipping to spine; boards no longer extant. Front free endpaper and first blank page detached but still extant with some chipping to corners. Some staining to bottom corner at gutter of first few pages. Some mild foxing throughout. Final page 119 no longer extant with bottom quarter of following blank missing as well. Some discoloration smoke to tail of final pages. Gatherings still held together quite securely although with some cocking to the top half of the spine. Appears to be a good candidate for recasing or rebinding with a facsimile copy of the final page. Originally published in eight parts under the title "Equality-- A Political Romance" in the Philadelphia deist magazine "The Temple of Reason" this utopian fantasy is commonly accredited to be the first utopian novel written and published in the United States. According to the historian Richard J. Twomey "Equality." marks a turning point in social critique in how it marks private property itself as the root of "social evil" rather than inherited privilege or property. Faherty and White. This scarce edition of 1837 is preceded only by the 1802 serialization. . Hard Cover. Fair. The Liberal Union Hardcover
réf. 201228975Paris, Rouge et or dauphine, 1963 ; in-12, 186 pp., cartonnage de l'éditeur.
réf. 201808041Paris, Editions gp , 1962 ; in-8, 186 pp., cartonnage de l'éditeur. Avec jaquette n°184 (jaquette 633).
