25　肉筆原画　札幌市鳥瞰図　全3面1組　吉田初三郎画 1,620,000円

23　千嶋講宿帳　発起/長岡屋清左衛門　帳元/岩越瀬左衛門　嘉永頃刊　648,000円

24　天保改正　松前道中定宿附講元　松前組　天保12年刊　324,000円

21　蝦夷國一円之図　安政頃写　378,000円

22　東西蝦夷山川地理取調図　　　本図26舗　首図1舗（尾図欠）

　松浦武四郎　安政6～7　3,240,000円

絹本着彩、1面の大きさ72×107糎、全3面。画面右上に「札幌市鳥瞰　昭和十一年　初三郎 謹作」と署名落款入。各面とも薄板に貼り込み、初三郎原画によく見られる絵具や文字の剥落は最小限に止まっている。全体的な保存状態は良好と云えよう。

木版墨摺、7.1×16.2糎、全143丁。宿名、問屋名、諸役銭、両替相場、運賃など当時の商人便覧。全文が「松前町史　史料編（三）」に翻刻されているが、本書は講元連名6丁の増補あり。原表紙、僅虫入、保存良。

木版横綴47丁、6.5×17.5糎、原装題簽付。天保12年2月の序。福山城下ヨリ三馬家渡リ北國街道京都迄、津軽青盛ヨリ・・・と宿場、里数、定宿等を記す。北方関係諸書未載の極稀本。保存良だが表紙端に虫喰有。

152×92糎、化政期以降、広く流布した里程一覧付の蝦夷図。本図は更にカラフト、エトロフの勤番役所、通行番屋などを詳細に記載し、流布図中では一回り大型かつ精密な図である。

木版彩刷、2米40糎×3米60糎（1舗は各51×38糎位）、原装簽付。松浦武四郎の蝦夷地探査を集大成する精細図。クナシリ・エトロフを含み、木版の地域図として最大のものであろう。輪郭は伊能忠敬・間宮林蔵の実測、内陸は武四郎自らの探査による。名工・木村嘉平の木刻により、安政6～7年に渉り刊行され、後に開拓使においても重用されている。本図26舗の揃い、首図（概図・案内・土人名簿）付、計27舗。惜しくも尾図（里数・人別等一覧表）を欠く。僅かな小虫補修有。当時の木箱入り、保存良。

19　蝦夷島掌覧図　寛政頃写 324,000円

16　松前蝦夷地図　寛政4年写 1,836,000円

20　蝦夷嶌図　成沢寛経写　天保15年 486,000円

18　蝦夷島絵図　文政13年写 486,000円

17　蝦夷絵図　文化4年写 1,296,000円

初期蝦夷図、54×80糎、「方州掌覧之図」として流布するものが多い。「ヲチシリ」「マエサンタン」など架空の島が描かれている。

130×188糎の大型図、「寛政四年壬子年見分」の年記あり。図中、説明文多く、夷家の書入れは一部内陸に及んでいる。ほかに夷人詞、サンタン人詞、満洲國詞を記載する。本図はその源流が不明の孤図であり、また他に東北大学「狩野文庫」に1本のみ知られる稀覯図。

国絵図系の精写図、55×80糎、着彩、1舗。安永5年、文化4年と写し継がれ、天保15年、信濃国上田の国学者・成沢寛経により筆写された図。原図は宝暦頃の図と思われ、初期蝦夷図として資料性がある。

137×196糎、天明5～6年の幕府蝦夷地調査によって作成された図。本図は文政13年、調査隊の一員、佐藤（玄六郎）行信より儒写したとの記載がある。同系統図の中では極めて大型で、調査内容の書入れも多い。

196×152糎の大型図で、天明～寛政期に作成された図。国絵図系の変形した図形を持つが、千島列島は一列に描かれている。また支配場所の状況など多くの注記がある。同系統図は函館市中央図書館所蔵図ほか10点程知られるが、本図はその中では最大のもの。稀図。

弘 南 堂 書 店

174

Booth No. 30

25　肉筆原画　札幌市鳥瞰図　全3面1組　吉田初三郎画 1,620,000円

23　千嶋講宿帳　発起/長岡屋清左衛門　帳元/岩越瀬左衛門　嘉永頃刊　648,000円

24　天保改正　松前道中定宿附講元　松前組　天保12年刊　324,000円

21　蝦夷國一円之図　安政頃写　378,000円

22　東西蝦夷山川地理取調図　　　本図26舗　首図1舗（尾図欠）

　松浦武四郎　安政6～7　3,240,000円

絹本着彩、1面の大きさ72×107糎、全3面。画面右上に「札幌市鳥瞰　昭和十一年　初三郎 謹作」と署名落款入。各面とも薄板に貼り込み、初三郎原画によく見られる絵具や文字の剥落は最小限に止まっている。全体的な保存状態は良好と云えよう。

木版墨摺、7.1×16.2糎、全143丁。宿名、問屋名、諸役銭、両替相場、運賃など当時の商人便覧。全文が「松前町史　史料編（三）」に翻刻されているが、本書は講元連名6丁の増補あり。原表紙、僅虫入、保存良。

木版横綴47丁、6.5×17.5糎、原装題簽付。天保12年2月の序。福山城下ヨリ三馬家渡リ北國街道京都迄、津軽青盛ヨリ・・・と宿場、里数、定宿等を記す。北方関係諸書未載の極稀本。保存良だが表紙端に虫喰有。

152×92糎、化政期以降、広く流布した里程一覧付の蝦夷図。本図は更にカラフト、エトロフの勤番役所、通行番屋などを詳細に記載し、流布図中では一回り大型かつ精密な図である。

木版彩刷、2米40糎×3米60糎（1舗は各51×38糎位）、原装簽付。松浦武四郎の蝦夷地探査を集大成する精細図。クナシリ・エトロフを含み、木版の地域図として最大のものであろう。輪郭は伊能忠敬・間宮林蔵の実測、内陸は武四郎自らの探査による。名工・木村嘉平の木刻により、安政6～7年に渉り刊行され、後に開拓使においても重用されている。本図26舗の揃い、首図（概図・案内・土人名簿）付、計27舗。惜しくも尾図（里数・人別等一覧表）を欠く。僅かな小虫補修有。当時の木箱入り、保存良。

19　蝦夷島掌覧図　寛政頃写 324,000円

16　松前蝦夷地図　寛政4年写 1,836,000円

20　蝦夷嶌図　成沢寛経写　天保15年 486,000円

18　蝦夷島絵図　文政13年写 486,000円

17　蝦夷絵図　文化4年写 1,296,000円

初期蝦夷図、54×80糎、「方州掌覧之図」として流布するものが多い。「ヲチシリ」「マエサンタン」など架空の島が描かれている。

130×188糎の大型図、「寛政四年壬子年見分」の年記あり。図中、説明文多く、夷家の書入れは一部内陸に及んでいる。ほかに夷人詞、サンタン人詞、満洲國詞を記載する。本図はその源流が不明の孤図であり、また他に東北大学「狩野文庫」に1本のみ知られる稀覯図。

国絵図系の精写図、55×80糎、着彩、1舗。安永5年、文化4年と写し継がれ、天保15年、信濃国上田の国学者・成沢寛経により筆写された図。原図は宝暦頃の図と思われ、初期蝦夷図として資料性がある。

137×196糎、天明5～6年の幕府蝦夷地調査によって作成された図。本図は文政13年、調査隊の一員、佐藤（玄六郎）行信より儒写したとの記載がある。同系統図の中では極めて大型で、調査内容の書入れも多い。

196×152糎の大型図で、天明～寛政期に作成された図。国絵図系の変形した図形を持つが、千島列島は一列に描かれている。また支配場所の状況など多くの注記がある。同系統図は函館市中央図書館所蔵図ほか10点程知られるが、本図はその中では最大のもの。稀図。

弘 南 堂 書 店

175

Booth No. 30

Sims Reed Ltd.43a Duke Street St. James’s London SW1Y 6DDTel. +44 20 7930 5566 / Fax +44 20 7925 0825

info@simsreed.com / www.simsreed.com

VITRUVIUS. Di Lucio Vitruvio Pollione de Architectura Libri Dece &c. Como. Gotardo da Ponte forAgostino Gallo and Aloisio Pirovano. 1521.

Folio. (400 x 272 mm). [192 leaves; 8 unnumbered leaves, 183 leaves foliated I - CLXXXIII, final leaf with note anderrata]. Collation: 8 leaves, 4 without signature, A8 - Z8. Contents: Leaf (i) recto: title page; leaf (i) verso: privileges ofPope Leo X and of Francis I of France; leaf (ii) recto - (vii) verso: index and table of contents; leaf (viii) recto: intro-duction; leaf (viii) verso: preface; leaf I recto - CLXXXIII recto: text of Book I-X with commentary, ending withcolophon; leaf CLXXXIII verso: woodcut printer’s device beneath register; leaf CLXXXIV recto: errata, followed by noteof the editors A. Gallo and A. de Pirovano; leaf CLXXXIV verso: blank. Printed title with elaborate woodcut vignetteand privileges verso, printed text illustrated with 117 woodcut illustrations and diagrams (10 full-page), printer’s device(a smaller version of that for the title) on Z7 verso, errata and editor’s note on Z8 recto, large historiated and foliatedwhite-on-black initials throughout; some minor staining and occasional worming, repairs to the gutters of the last fewleaves, the final leaf with the uncorrected heading ‘tuta lopera’. Full sixteenth-century vellum.

A large and complete copy of the Como Vitruvius from the library of Baroque architect DomenicoMartinelli, the first edition in the vernacular and one of the most beautiful productions of the trea-tise.

First edition of the first translation of Vitruvius into a living tongue. (Fowler).

The translation was made by Bono Mauro da Bergamo and Benedetto Jovio da Comasio, and the high-ly original commentary is by Cesare Cesariano. Cesariano (1483-1543), a pupil of Bramante andLeonardo, who later became architect to the city of Milan, was also responsible for many of the verydetailed illustrations, which include full-page plans and elevations of the cathedral of Milan, believedto be the first illustrations of Gothic architecture in a printed work.

Cesariano amplifies the text and justifies its continued application by continual references to, and illus-trations of, contemporary Roman and Lombardian buildings, and his application of the principles ofsymmetry and proportion attempts to establish a new language of architectural forms in a way whichwas later to be codified by Vignola.

The Como edition of 1521 is the first in Italian - by Cesare Cesariano, a pupil of Bramante. It has splendidnew illustrations, some of which are now attributed to Leonardo da Vinci, and is the most beautiful of allthe early editions. (Printing and the Mind of Man).

De Architectura is the only text of Greco-Roman architecture that has survived from antiquity. Composedby Marcus Vitruvius Pollio (c.90 - c.20 B.C.) in ten chapters, or book rolls, the work was completed whenthe author was old and defeated. (Millard).

The Baroque architect Domenico Martinelli, whose ownership inscription graces the title, is synony-mous with Baroque architectural development north of the Alps. After studies in Rome at the Academiadi San Luca - where he also taught at a later date - and his ordination, Martinelli travelled to Austriaand the Habsburg Court where he attracted several important and powerful patrons including thePrince of Lichtenstein, William of Orange (the English King), Count Kaunitz, the Polish King JanSobieski and the Elector of Brandenburg. Martinelli worked alongside Fischer von Erlach (a fellow pro-ponent of the Baroque) and Domenico Rossi on the Lichtenstein Palace in Vienna and was the authorof ambitious projects - achieved or not - in Prague, Bohemia, Moravia, the Netherlands and elsewhere.In the early eighteenth-century Martinelli returned to Italy to teach at the Academia in Rome beforeretiring to his native Lucca.

[Fowler 395; Berlin 1802; Cicognara 698; Millard 158; see PMM 26]. ¥9,000,000

176176

Booth No. 31

Sims Reed Ltd.

177

Booth No. 31

DURER, Albrecht. Die Unterweysung der Messung, mit dem Zirckel unn Richtscheyt in Linien ebnenganken corporen … &c. Nuremburg. Hieronymous Andreas Formschneider. 1525.

4to. (287 x 200 mm). [90 unnumbered leaves. with terminal blank Riv]. Collation: Avi - Nvi, Oiv - Piv, Riv. Illustratedthroughout with numerous text drawings of geometrical diagrams, architectural figures, and designs for letters, somefull-page. Leaves Pii and Piii feature illustrations larger than the sheets for the book and are folded in this copy; com-plete with the 2 pasted-in folded slips on Ri verso and Rii recto and with terminal blank Riv (lacking in many copies).Some staining and soiling, several leaves trimmed close but a good complete copy. Sheet size: 282 x 190 mm. Nineteenthcentury blue morocco-backed marbled boards, banded spine with gilt title and tooling in 6 compartments, marbled end-papers, all edges stained red with additional gilt cruciform gauffering, brown morocco-backed cloth box with gilt titlesto spine.

[PROVENANCE: Initials to title in sepia ink (possibly S. A. D. F.); armorial bookplate in green on cream paper tofront pastedown of Theodor Freiherr von Cramer-Klett in Hohen-Aschau (1817 - 1884); armorial bookplate tofront free endpaper recto with the name Reuter].

The first edition of Durer’s treatise on perspective and the uses of mathematical geometry in art.

The importance of Die Unterweysung lies in the fact that it is the first literary document in which astrictly representational problem (painting) received a strictly scientific treatment at the hands of aNorthern European.

The Preface of this Course in the Art of Measurement is the first public statement of Durer’s lifelong con-viction: that German painters were equal to all others in practical skill and power of imagination, butthat they were inferior to Italians in a rational knowledge (Kunst), which would prevent them fromerrors and ‘wrongness’ in their work. Die Unterweysung was Durer’s response to this: I have decided toteach geometry’s rudiments and principles to all youngsters eager for art … it may benefit not only paintersbut also goldsmiths, sculptors, stonemasons, carpenters and all those who have to rely on measurement …(From Dürer’s Preface).

The ‘Underweysung’ is, therefore, still a book for practical use and not a treatise on pure mathematics.Dürer wanted to be understood by artists and artisans. Thus where three of the Books in the Underweysungdescribe problems of linear, two-dimensional, and three-dimensional geometry, the remaining Third Bookillustrates the application of geometry to the concrete tasks of architecture, engineering, decoration andtypography. (Panofsky: Albrecht Dürer. London).

In the book, Dürer examines the construction of plane curves and helices by means of Euclidian geom-etry; construction of polygons and their uses in architectural ornamentation, parquet floors, and final-ly polyhedra, stereometry and perspective. The woodcuts and diagrams are executed with great preci-sion; they include the famous illustrations of the two figures demonstrating a drawing instrument,signed with Dürer’s monogram (dated 1525 for this edition) as well as one of an artist drawing a seat-ed man with the aid of Dürer’s machine. The text of Book Three contains his famous original treatiseon the shaping of Roman capital and Gothic letters and Gothic letters built up by means of small geo-metrical forms.

There were three further German editions of Die Unterweysung, published in 1533, 1538 and 1603, aswell as five Latin editions published between 1532 and 1606.

The connexion of the beautiful with the natural, of the work of art with what is correct (i.e. mathematical)was a typical concept of the Renaissance. In the illustration of these principles lies the great historical impor-tance of Dürer’s theoretical writings … They were the foundation of accepted aesthetic dogma until thenineteenth century. (Printing and the Mind of Man).

Theodor Freiherr von Cramer-Klett was a banker, industrialist and philanthropist who is consideredimportant for the development of the railway in Bavaria; he supported many social and artistic insti-tutions and it is worth noting that one of them was the Albrecht-Dürer-Haus-Stiftung in Nuremberg.

[PMM 54]. ¥6,750,000

Sims Reed Ltd.

178

Booth No. 31

Sims Reed Ltd.

179

Booth No. 31

BOTTA, Paul-Emile & Eugène Flandin. Monument de Ninive. Découvert et Décrit par M. P.-E. Botta.Mesuré et Dessiné par M. E. Flandin. Paris. Gide et J. Baudry, Editeurs [for the] Imprimerie Nationale.1849 - 1850.

5 vols. Large folio. (628 x 444 mm). pp. iii (vol. I); iii (vol. III); XI, 360, (i). Vols. 1 & 2 (Architecture et Sculpture):Half-title with printer’s credit verso, printed title, 2 leaves with ‘Table’ in vol. 1 and 171 plates (7 double-page, 12 withpartial colour and including 5 bis plates) numbered 1 - 78 and 79 - 165; vols. 3 & 4 (Inscriptions): Half-title and titleas previously, 2 leaves with ‘Table’ in vol. 3 and 203 plates (17 double-page and including 8 bis, 6 ter and 6 quaterplates) numbered 1 - 68 and 69 - 183; vol. 5 (Texte) with title, Préface by Botta dated ‘Mai 1849’ and ‘ChapitrePremier’ to ‘Chapitre XI’, final leaf with ‘Table des Matières’. Printed text in French with insertions in Arabic andcuneiform, vignettes in the text, reference to the plates as applicable and extensive analysis and comparison ofcuneiform in the final four chapters. Later burgundy backed green marbled boards, banded spines with gilt tooling andgreen calf labels with gilt titles in six compartments, cream endpapers, a.e.g.

Monument de Ninive, the foundation work of Assyriology and the basis for the collection in theLouvre.

Paul-Emile Botta (1802 - 1870), born Paolo Emiliano Botta in Turin, on his appointment as the Frenchconsul at Mosul, left France early in 1842, determined to take advantage of his diplomatic appointmentto investigate the antiquities of the region. It is likely that he was influenced and perhaps directed byJulius von Mohl and some sources suggest that the appointment of consulship was made at von Mohl’srequest. In March 1843 Botta began excavations at Khorsabad (after a largely unsuccessful attempt atKuyunijk), to the north-east of Mosul. Here in a period lasting until October 1844, Botta excavated acomplex series of rooms lined with carved and inscribed gypsum slabs.

Although Botta believed he had located the lost city of Nineveh, it was later recognised to be the mag-nificent palace of Sargon II, Dur-Sharrukin, erected around 710 BC. The series of bas-reliefs and colos-sal winged bulls found there are the finest known specimens. The French government was quick torealise the importance of Botta’s discoveries and provided generous funding for the excavations. Theyalso sent out Eugène Flandin, an artist who had accompanied Pascal-Xavier Coste to Persia in the early1840s to record the finds, and it is his graphic work, together with Botta’s descriptions, that constitutethe present book. Many of the sculptures and other material reached France in 1846, and today areamong the greatest treasures of the Louvre; the Assyrian display was opened to the public, wiht theKing, Louis-Philippe in attendance, on May 1st, 1847. The Assyrian collection proved so popular thatthe Louvre created a separate Musée des Antiquités Orientales to accommodate them.

The book was published as Monument de Ninive in an edition of only a few hundred copies at a priceof about two thousand francs, a price high enough that the leading English scholars, Layard andRawlinson (both are cited in the final text volume) could not afford to purchase it. Botta’s work, theground-breaking publication on Assyriology, remains highly important and complete copies such asthe present example, remain scarce.

[Brunet, I, 1144; Graesse, I, 505]. ¥4,875,000

Sims Reed Ltd.

180

Booth No. 31

Sims Reed Ltd.

181

Booth No. 31

BARBIER, Georges. Flament, Albert. Personnages de Comédie. Paris. Chez Meynial. 1922.

Folio. (375 x 295 mm). Illustrated half-title with colour wood-engraved design by Barbier, limitation verso, title withcolour wood-engraved Harlequin vignette, 12 full- and 2 half-page wood-engraved colour plates, 22 wood-engravedcolour four-line initials as well as decorative devices in the text, many heightened in silver and gold, final wood-engraved colour vignette, list of plates and colophon; each leaf of text surrounded by decorative frame; the cover illus-tration is repeated on the half-title. Illustrations engraved in wood by F.-L. Schmied and printed in collaboration withPierre Bouchet and Louis Bracons. (Sheet size: c.370 x 290 mm). Contemporary full vellum with inlaid and painteddecoration to front board by Séguy with his monogram in blind, front board with painted border and interlaced pat-terning in purple and silver, surrounding a central decor composed of chrysanthemums in yellow and orange and ablack domino with purple ties, the whole surrounded by leaves and sprays in bright green, title in black to spine, creamlinen placemarker, original wrappers preserved, t.e.g., wool-lined marbled board slipcase.

A fine copy of this important collaboration between Barbier and Schmied in a rare binding by Séguy.

From the edition limited to 150 copies, signed by Barbier in pencil.

Emile-Alain Séguy (1877 - 1951), known for his series of extraordinary Art Deco pochoir portfolios,Suggestions, Insectes, Bouquets et Frondaisons, Primavera and Papillons, also produced a number ofremarkable bindings. Executed in a style reminiscent of the composition of his portfolio plates, a dense,layered, floral decorative scheme, the bindings we can locate are most usually for books publishedbetween c.1900 and 1910 such as a copy of Bonnard’s Parallèlement, de Musset’s Rolla and Les Chansonsde Gueux illustrated by Steinlen.

The binding presented here, for a book published some 20 years later, features a painted and inlaidcomposition by Séguy to the front board, signed with his blindstamp, different in style to his earlierwork but retaining an association with his decorative pochoirs and Art Deco. Emile-Alain Séguy is notto be confused with the entomologist Eugène-Alain Séguy (1890 - 1985) although the idea of a preco-cious talent designing important bindings at the age of 18 or 19 is seductive. ¥4,500,000

Sims Reed Ltd.

182

Booth No. 31

ROUAULT, Georges. Suarès, André. Passion. Paris. Ambroise Vollard. 1939.

Folio. (448 x 350 mm). pp. 143, (vi). Half-title with justification verso, leaf with original colour etching by Rouaultverso as frontispiece, printed title in red and black with wood-engraved vignette and Suarès’ text illustrated with 81woodcut plates, head- and tail-pieces (including that for the wrapper) by Georges Aubert after Rouault and 16 furtherhors-texte original colour etchings, all by Georges Rouault and printed by Roger Lacourière, two leaves with ‘Table desHors-Texte de Passion’ with 17 monochrome engravings, two leaves with ‘Table des Poëmes’ and final leaf with achevéd’imprimer and colophon. Full Jansenist midnight blue polished calf by Marot-Rodde with her signature gilt, smoothspine with gilt title, blue patterned silk doublures and guardleaves, painted decorative endpapers, original publisher’sprinted wrappers with title in red and Rouault’s wood-engraved vignette and backstrip preserved, a.e.g., calf-lined slip-case with décor matching the painted endpapers.

Georges Rouault’s illustrations for André Suarès’ Passion bound in Art Deco Jansenist calf by Marot-Rodde.

From the edition limited to 270 numbered copies (including 25 hors commerce numbered in Romannumerals) on vergé de Montval.

L’artiste, après avoir gravé le noir, indiquait sur une épreuve les couleurs à obtenir d’après une gouache ouune huile. Les couleurs étaient posées à la main. Lacourière les décomposait ‘à l’oeil’ … L’artiste modifiaitparfois les formes et changeait les couleurs. (Chapon).

The passion of Christ is recounted by Suarès in dramatic-narrative form and illustrated by Rouault withan intensity of feeling usually equalled only in medieval art, which these plates often recall. This was thelast of Vollard’s books to be published in his lifetime. (The Artist and the Book).

This copy of Passion, bound by Marot-Rodde (an Art Deco binder from the 1920s and 1930s who wasaided and succeeded by her daughter) in Jansenist polished calf with spectacular painted endpapers, isfrom the collection of Lord and Lady Attenborough.

[Chapon 257 - 273bis; The Artist and the Book 272]. ¥3,750,000

Sims Reed Ltd.

183

Booth No. 31

Hill_Tokyo_ad17cat_spcs.indd 1 12/18/17 5:53 PM

Hill_Tokyo_ad17cat_spcs.indd 1 12/18/17 5:53 PM

Hill_Tokyo_ad17cat_spcs.indd 1 12/18/17 5:53 PM

Hill_Tokyo_ad17cat_spcs.indd 1 12/18/17 5:53 PM

184184

Booth No. 32