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1.[ADVERTISING ART - JAPAN]. Tôkyô Asahi Shinbunsha Kenshô Nyûsen KOKOKKAI. KOKOKU MANGA-SHU AD CARTOON. Volume 11, number 4. Tokyo, Seibundô, Shôwa 9 [1934]. Decorated wrappers. 26.3 x 19 cm. 128 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, heavily illustrated with plates and textual reproductions of posters, ads, signboards, etc., etc. This "special expanded issue" is dedicated to the advertising cartoon contest sponsored by Asahi Newspaper chain and includes a great number of newspaper ads, cast in the form of comic strips. Interesting window into the commercialization of the ostensible "arts" like the manga. Despite a bi-lingual title on the cover, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. In very clean condition. Complete.SOLD

 

 

 

 

 

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2.[AGRICULTURE] Miyazaki Ryûjô. Kôeki NOKO ZENSHO 5 vols. Tôkyô, n.d.[1881]. Bound Japanese-style, fukuro-toji. Original covers and title labels. 22.7 x 15.5 cm. An extensive guide to the practice of agriculture in the early modern era of Meiji Japan. Largely text, but illustrated throughout in woodcut, some of which in each volume are skillfully colored. Near fine condition. Unusual and important work. Miyazaki Ryûjô had also produced such importantlandmarks of modern learning as the Shintei Nihon yochi zenzu of 1878. Complete.

$1,750.00

 

 

 

 

 

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3.[BIJINGA]. BIJIN NISHIKI-ZU. Tôkyô, Fukuda Shojirô, Meiji 29 [1896]. Small orihon folding album in patterned cloth-covered boards with reprinted paper title label. 17.5 x 12 cm. With 12 double page color woodblock printed designs of women in their daily occupations. No artist is mentioned, but a typical late Meiji atmosphere (Chikanobu school?). Well printed, in good condition. Complete, as issued.

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5.[CANDY] FURUKAWA Umejiro, editor, AZUMA NISHIKI. Tôkyô, Taishô 11 [1922]. Oblong ribbon-tied printed boards. 21.3 x 30.5 cm. Illustrated with 50 color woodblock prints in each volume, depicting a whole array of traditional sweets, with explanatory text in Japanese. The genre of books and prints illustrating (and thus advertising) confectionary was a popular one, especially between the wars, but survived into the 1960s in some cases. This volume is one of the better examples. The colors are appealing, the printing is top-notch. The covers are worn and their is finger soiling internally but still good condition overall. In a custom clasped chitsu case.

 

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6.[CANDY] FURUKAWA Umejiro. SHINKI GYODAI KANSHI KACHO. Tôkyô, Taishô 13 [1924]. Oblong ribbon-bound woodblock printed guide to a zodiacal selection of seasonal candies, along with a written sketch by Sasada Takejiro & Kaneko Kurakichi of how they are created. There are 20 pages of color woodblock printed traditional wagashi candy designs, along with type set text. A bit worn, but a nice copy of this ephemeral item, in a custom clasped chitsu case.

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7.[Chinese Woodcuts, Peking Jung Pao Chai] SHIH CHU CHAI CHIEN P'U Fei An T'i. Peking: Peking Jung Pao Chai,[with the 1952 preface] Set of four volumes (each 31 x 21.3 cm) of the TEN BAMBOO HALL POETRY PAPERS. The TEN BAMBOO HALL POETRY PAPERS, of course, date back to the late Ming period in the 17th century and is one of the earliest classics of color woodblock printing in the world. It was conceived and created by the same artist, Hu Cheng-yen, who was responsible for the 16 fascicle TEN BAMBOO HALL PAINTING MANUAL. Each of the four volumes of this facsimile edition is string-bound Chinese style with paper labels. The hundreds (267) of color woodcuts are well printed works of the Peking Jung Pao Chai, the finest color printer in China in the 20th century. In the 1972 edition of his book, CHINESE POETRY PAPER BY THE MASTER OF THE TEN BAMBOO HALL, Jan Tschichold calls the Jung Pao Chai 1952 facsimile edition (this edition), the first post- Revolution issue of this book, the finest issue and one of the most extraordinary jobs of color printing in the 20th century. That being said, it is a reprint of the original edition, which appeared in the 1930s, printed on vintage papers from the collection of the famous author, Lu Hsun. That edition is virtually unobtainable and even early post-War copies like this one are quite scarce, as well. A remarkable and lovely work very skillfully printed in gauffrage and colors. The original brocade-covered clasped wraparound box is present and near perfect, the books themselves are about fine.

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8.DeBenneville, James S. SAITO MUSASHI-BO BENKEI. (Tales of the Wars of the Gempei). Being the Story of the Lives and Adventures of Iyo-no-Kami Minamoto Kuro Yoshitsune and Saito Musashi-bo Benkei the Warrior Monk. Yokohama: Published by the author, 1910. First edition, in two volumes. 8vo, green cloth, stamped in gilt; vol. 1: xxvii + 391pp. + ads, vol. 2: vi + 453pp. + map. Color frontispieces and 23, 47 b&w plates, complete. A bit of yellowing to the jackets and endpapers overall fine.

 

$750.00

 

 

 

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9.[DESIGN - An Album of 70 Design Paintings from Kyôto]. 30.3 x 23.0 cm, string-bound Sino-Japanese style, fukuro-toji with 70 painted designs laid down on the folded sheets that are bound into the covers by string. Each sheet has a single image. Though the album is undated and un-attributed, it appears to be circa 1905-10, Kyoto school of design. There is some image transfer to facing pages, but the skill of conception and execution in opaque pigments and precise line are amazing.

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10.[DESIGN BOOK] Hagino Issui, designer. ZUAN HYAKUDAI. 3 Vols. Kyoto, Unsôdô, Meiji 43 [1910] An orihon in 3 volumes, (27 X 19 cm) with woodblock printed covers. Unsodo outdid itself in this early design effort. Dozens of double page horizontal designs (which become large prints, the paper size being 37.5 x 27 cm) as well as circular and fan-shaped, and single page designs, too. Most in the neo-Rimpa style which Unsôdô artists pioneered at the beginning of the last century - bold and lovely. A very clean copy of this fragile book which is often found browned and worn. A very slight bit of occasional internal browning, else very near perfect condition, good colors and impressions for this important set. Complete in the original clasped chitsu case (one clasp missing). One of the very best of the Unsôdô design books, which is very good, indeed. very unusual in this condition:

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11.[DESIGN] Furuya KORIN. KOGEI NO BI. Kyoto, Unsôdô, Meiji 41 [1908]. 3 vols. Folding orihon albums, 32 X 22.5 cm, in paper over boards with integral printed title labels. The first printing of this set, as here, is very scarce and quite delightful - the 75 large double page designs in woodblock, employing karazuri (gauffrage), metallic inks, etc., represent a peak of the printing art as practiced by Unsôdô at the time. Kôrin, the designer, is usually considered an equal to Sekka and Tennen, though this work and his remarkable SEIKA, are the only large format works by him we have seen. The designs are in an interesting format, often constrained to the shapes of pottery pieces, especially vases. The result is a remarkable demonstration of how two dimensional designs can be adapted to three dimensional shapes, here rendered, of course, in two dimensions once again. The printing is superb, the condition throughout good to very good, though there is occasional slight browning of the paper, as usual. In a later folding clasped chitsu case which preserves the original chitsu printed paper title label.

$6,250.00

 

 

 

 

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12.[DESIGN] Kobayashi GYOKUNEN. TAMA KAGAMI. Kyôto, Fujisawa Shuppanbu, Meiji 34 [1901] 24.9 x 18.6 cm. This set of designs are by Gyokunen, who would go on to illustrate a few rare design books for Honda Unkindô before his life ended prematurely. There are a total of 49 color pages of wonderfully well printed and overprinted creative designs along with one 3 fold and one 4 fold color printed frontispieces. The covers are a bit worn and soiled and there is a touch of internal browning, but overall the condition is good. These are the "heaven" and "earth" volumes, which usually indicates there is a third, "man" volume, as well. But, we have never seen the third volume and there is an artist's signature and a colophon at the end of the second volume, which would indicate it is the final volume and the "man" volume was never published. Beautiful set. In a custom clasped chitsu case.

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13.[DESIGN] Taniguchi Kôkyô. KORIN GAFU. Kyôto, Tanaka Jihei, Meiji 24 [1891]. Large 28.6 x 39.6 cm oblong tassel-bound album of color woodblock prints, lavishly printed with bokashi shading, metallic inks, etc. Kôkyô (1864-1918) had been a student of Kôno Bairei and by the late 1880s had undertaken serious study of the legacy of Rimpa style. He was allowed by the descendants of Sakai Hô-itsu to see and copy some wonderful original Ogata Kôrin paintings that remained in the family. Those copies formed the basis of the 12 designs in this book and heralded the true beginnings of the Rimpa design revival in Kyoto, a movement developed further by such artists as Kamisaka Sekka and Furya Korin and printer/publishers such as Unkindô and Unsôdô. The covers are mica patterned with the original printed title label, in good condition. The front cover of the original clasped publisher's chitsu has been rescued and remounted on a rebuilt chitsu. Internally very good, the printing is exquisite. A very important and unusual work in the history of the development of design in Kyôto in the late 19th century.

$3,250.00

 

 

 

 

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15.[DESIGN] YOSHII Seisen, designer. NATORI-GUSA Ichi, Ni. Kyoto: Honda Unkindô, Meiji 36 [1901]. 25.5 x 18 cm., string-bound Japanese-style, fukuro-toji, printed title on printed covers. The first 60 images from a series of kimono designs by Seisen, published by the important design house, Unkindô. HANAKURABE by Seisen was shown in the design book exhibition, done at Stanford, catalogued in ZUANCHO IN KYOTO. The Unkindô catalog from 1902 indicates that, though this work was slated to run to three volumes, only one had been published by then. The 1915 Unsodo catalog does not include the title so it is unclear whether volume three was ever finished. With beautifully printed color woodblock prints. Very good condition, some cover wear. fine impressions and colors.

 

 

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16.[EARLY JAPANESE PRINTING]. Suzuki Shôsan. NININ BIKUNI. n.p., n.d. [Early-mid 17th Century] String-bound, Japanese-style, fukuro- toji, 29 x 20 cm. Though it shares the title and authorship of the item found at 391 in Gardner's DESCRIPTIVE CATALOGUE OF JAPANESE BOOKS IN THE BRITISH LIBRARY PRINTED BEFORE 1700, it is not the same book. Published in one volume with 39 sheets, it has 22 single page and one double page woodblock prints. The work inscribes a Zen didactic kanazôshi tale of two nuns widowed by the recent wars and was written by a great general of those wars, Suzuki Shôsan [1579- 1655], who left his posts under the Tokugawas after the wars to become a monk. This is a very important book by a very important historical figure. As is so often true of even the most significant 17th century Japanese works, the details of its bibliography are rather baffling. The only early copy we could locate outside Japan is the copy in the British Library. Though undated, like ours, it is clearly a different edition, being significantly smaller and printed in two volumes with only 29 sheets and 18 single-page woodcuts. Our copy has 9 lines per page of text, a trait of the earliest editions. The prints are all hand-colored in a 17th century style and palette, rather coarse and powerful. The covers appear to be original, with the remains of a title label.

$7,500.00

 

 

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17.[EHON - TEN BAMBOO HALL] JUCHIKUSAI SHOGAFU. N.P.,N.D. [Kyôto, Hishiya Magobei, c. 1831]. 16 volumes. An early printing of the recut 19th century Hishiya Magobei version of the SHIH-CHU-CHAI SHU HUA P'U, 10 BAMBOO HALL PAINTING STUDIO. 25.2 x 14.7 cm. Printed title slips on covers. In a red cloth covered clasped case with broken hinges. I have relied upon the extensive research done by Thomas Ebrey in his paper on the bibliography of the TEN BAMBOO STUDIO, comparing page borders, etc.. Very good color and good condition, early impressions on very thin and strong paper. A bit of worming. The collation of editions of the TEN BAMBOO HALL is extraordinarily difficult even for the Chinese editions. [See Paine's article in the ARCHIVES OF THE CHINESE ART SOCIETY OF AMERICA, 1951 and Thomas Ebrey "The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting" in Princeton University's The East Asian Library Journal 14, no. 1 (2010): 1-119] and Japanese editions are even less explored. This Japanese edition of the The TEN BAMBOO HALL is interesting for its effort to capture the delicate colors and quiet beauty of "Chinese style" as seen from Japanese eyes. A very lovely set.

$4,500.00

 

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18.[EHON] Asai Chû, artist. TOSEI FUZOKU GOJU-BAN UTA-AWASE. [Modern Customs in a Comparison of 50 Pairs of Poems]. Tokyo: Yoshikawa Hanshichi, Meiji 40 [1907] 2 vols., 24.7 x 18.4 cm. 50 pairs of caricatures, with accompanying poems, all in color woodcut. Save some very slight worming, the overall condition, impressions and colors are very good. This is a copy of the first edition, which preceded the Unsôdô of Kyoto reprint from the original blocks. Asai Chû (1856-1907) was one of the two (with Kuroda Seiki) most important oil painters of late Meiji era Japan. This work is in his "Haiga" literati mode and represents his most important foray into book illustration. Ref: Mitchell, p.534. A very good copy of an important book, the blind-patterned covers are a bit soiled.

$2,250.00

 

 

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19.[EHON] Hatta KOSHU, artist. KOSHU GAFU. Kyoto: Yoshidaya Shimbei, Osaka: Kawachiya Kihei. Bunka 9 [1812]. 26.7 x 17.1 cm. String bound Japanese-style, fukuro toji with original blue-grey covers embossed with interlocking octagons, original title slip. In a custom clasped chitsu case. 33 sheets, 5 pp. preface with 30 sheets of color illustrations in Shijô style, followed by a two page Yoshidaya catalogue and the colophon on the inside of the back cover. This is the seldom found first issue of the work. The impressions and colors are excellent. Very good condition overall. A very nice copy of an important Shijô school book by a direct disciple of Maruyama Okyo, himself. Usually seen in later states. [See Mitchell, p. 378; Hillier, Vol.2 pp. 711-2; Hillier/Ravicz, p. 42; Holloway, p. 100.]

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20.[EHON] Kawamura BUMPO & Watanabe NANGAKU. Nangaku Bumpô TEKURABE GAFU. Naniwa [Osaka]: Kawachiya Kihei & Teito [Kyôto]: Fukui Genjirô, Bunka 8 [1811]. 26.0 x 17.8 cm. Yellow covers, string- bound, fukuro-toji, printed paper title label. See Mitchell 324-5 for more on this bibliographically complex book. Resembles his "B" example in one volume with alternative title of the KAIDO KYOKA AWASE, with which it is pictorially identical, save that this variant issue is printed with the key blocks only, black and white. Hard to establish a chronology of the various issues as they all have the same colophon, but one would think this to be a later issue. There is a subsidiary colophon glued to the inner back cover, listing not only Fukui Genjirô of Kyôto but also Fukui Kônosuke and the Fukui publishing house in Dôshin, Ise. Fair to good impressions. A wonderful collaboration from these two great artists, alternating their designs in succession. Quite an unusual book. The b+w prnting and change of printer/publishers points up the enormous complexity of Japanese bibliography. Overall good original condition.

$850.00

 

 

 

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21.[EHON] Kawanabe GYOSAI, artist. Tsuuzoku ISOPPU MONOGATARI. Tokyo & Numazu, Meiji 5 & 6 [1872,3]. 6 volumes. Hanshibon, 22.5 x 15 cm. Blindstamped patterned yellow paper covers, string-bound Japanese- style, fukuro-toji. The interesting and now scarce translation of Aesop's Fables into Japanese by Watabe Godô from the English version of Thomas James. Illustrated throughout in b+w (with some use of grey scale and colored blocks, as well) woodcuts, mostly by the famed artist Kawanabe Gyôsai. The illustrations are largely based on the English original, though a few are original to the Japanese edition. Fujisawa Bainan and an artist named Kôson (Oshima Kôson? Sakaki Kôson?). For more on this work, see Scott Johnson's article, "The Illustrations for a Victorian Aesop and a Meiji Isoppu", 1983, Kansai University. Good impressions, very good condition. Early copies with the added blocks are very unusual. Complete.

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22.[EHON] Kôno BAIREI, artist. BAIREI KACHO GAFU 2 vols. Tokyo: Okura Shoten, Meiji 32 [1899]. Large format books of ôban-size color woodcut images, each sealed "Bairei." 37 x 25 cm (24 1/2 by 9 3/4 inches). Each of the volumes is comprised of 25 images, for a total of 50, that show birds throughout the changing seasons (vol. 1: Spring & Summer, vol. 2: Fall & Winter). The designs are fresh and lively - perhaps the finest of the large-format bird compilations of mid to late Meiji era Japan, and certainly the scarcest. This copy, a very good printing with lovely colors, has just a bit of soiling to the covers. Mitchell 217 references this printing (seen by him) as a re-issue of the Okura edition of 1883. Both issues are very unusual. Complete in a custom clasped chitsu case.

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23.[EHON] Shibata Zeshin & Watanabe Seitei. A folding album of 71 oblong color woodblock prints. Oblong orihon, 19.0 x 24.5 cm, paper covers. This would appear to be a collection of prints from several different works. The most important and interesting group are a series of prints from the botanical HANA KURABE series by Shibata Zeshin. That series was issued as separate prints over the course of some 11 years. from 1877 to 1888, and released as an album of 120 prints thereafter. Seitei was the publisher of the BIJUTSU SEKAI series, which featured Zeshin prtints on several occasions, so the combination of those two artists in one compilation is understandable. There is also a note and a title page identifying the work at hand as the NIHO GAFU, Ni-hen, a work which we can find no other reference to. So all in all, a mysterious little album. Zeshin and Seitei are probably the most sought after of all print designers of mid-Meiji and this group of images is quite lovely as a "noble fragment" - 71 chûban size prints represent a considerable number, especially of a series seldom found. The covers are a bit worn, the album less than crisp. In the end, priced as a fragment. In a custom clasped chitsu case.

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24.[EHON] Tachibana YASUKUNI. EHON NOYAMA GUSA 5 vols. Osaka: Shibukawa Seiemon, Hôreki 5 [1755]. 23.2 x 16.5 cm. Original covers and title labels, string-bound, Japanese-style, fukuro-toji. Delicate and lovely botanical prints throughout. Surprisingly unusual work, complete and in good condition as this one is, especially the original printing. It was redone many times through the years, but this edition is easily the most lovely. Complete, in a chitsu clasped case. (See Bartlett & Shiohara 126 and Kerlen p. 121)

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25.[EHON] Takeuchi SEIHO, artist. SEIHO SHUGA-JO. Kyoto, Meiji 34 [1901]. 17.3 x 24.6 cm, Oblong printed textured paper covers, ribbon bound. Listed, but not seen, by Mitchell, Brown p. 202. 12 woodcuts per volume, Vols. 1 & 2 in monochrome, Vols 3 & 4 in light colors. Good impressions throughout. Some soiling to the covers, else good to very good condition throughout. Complete as issued:

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26. [EHON] Tanaka YUHO, artist. YUHO BIJUTSU OYO, 2 volumes (The volumes are numbered one and two, appear to be all published). The original edition, published in Meiji 23 (1890) which was later reprinted by Yamada Unsôdô in 1903. 9 3/8 x 6 5/8 inches. String- bound Japanese style, fukuro toji, with the original printed title labels. Very good condition. Woodcuts in sumi and light colors in the emerging Nihonga style of the turn of the 20th century, with a few decorative motives amidst mostly genre and landscape scenes. Interesting and unusual work.

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27.[EHON] Wang Kai, et al. KAISHIEN GADEN Part One - Part Three, 19 vols.. Kyoto: Hishiya Magobei, 26.8 x 18.2 cm, Part one in five volumes has a colophon listing the original publication date of Part One (in Japan) as An'ei 9 [1780] and this "hankoku" ["reprint"] as Bunka 9 [1812] It is an early printing of this edition. Part two in eight volumes has a colophon that indicates the Japanese edition of this part originally appeared in Enkyô 3 [1746] and this reprint in Bunka 14 [1817]. Finally, the third part in six volumes has a colophon that indicates this part, like the first part described above, was originally printed in Japan in 1780 and reprinted here in 1812. We have handled two other Hishiya Magobei editions of the MUSTARD SEED. One was published in 1850 and the other during early to mid- Meiji. They both included the spurious fourth part wwhich had appeared in China in the early 19th century. Given the dates of this reprint and obvious effort to reprint early editions, as well as the fact that there is no reference to part four in the ads bound into the back of the three parts here, that there was never a fourth part in this edition and that it is thus, complete. As regards later edtions that do include a fourth part, it should be noted that the "correction" of the spurious fourth part, undertaken by Chao Xun [1852-1917] in China, took place in the late 19th century and thus could not have been the source of the lateEdo edition of 1850 nor of the early Meiji edition, either. Original tan covers with printed paper title slips. String-bound fukuro-toji. The nineteen volumes of this Japanese edition of the MUSTARD SEED GARDEN MANUAL OF PAINTING are enclosed in the original four clasped cases printed title slips. Some slight tide lines, but overall a very nice set of this version of the MANUAL, including all the volumes originally published in China as the "true" MUSTARD SEED. The printings and colors are quite nice, with a few defects of registration. Sets of the MUSTARD SEED GARDEN, whether Chinese or Japanese, have become quite unusual in the marketplace. Complete, as issued.

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28.[GEORGE GROSZ] YANASE Masamu, editor. Musan Kaikyû no Gaka GEORUGE GUROSSU. Tôkyô, Tettô Shoin, Shôwa 4 [1929]. First edition of this monograph on George Grosz, a friend and mentor of Yanase, the important avant-garde artist and book designer of the pre-War period in Japan, and one of the founding members of MAVO. Bound Western-style. 26.0 x 19.5 cm. With an introductory essay by Yanase on Grosz's importance in world art and politics, as well. Heavily illustrated with examples of Grosz's work. Very nice example, in the original printed slipcase.

 

$750.00

 

 

 

 

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29.[IMPERIAL HOTEL] THE IMPERIAL HOTEL Tokio, Japan. N.D. [20s?] Oblong ribbon-bound illustrated wrappers. 11.7 x 15.2 cm. Bi- lingual English-Japanese PreWar précis of services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The covers illustrate the layout of the hotel complex and there are ten color photo illustrations of interior and exterior views. The Imperial Hotel, through the influence of its long-time general manager, Inumaru Tesuzo, revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. A small abraded spot to front cover, otherwise like new condition. The illustrations are lovely.

 

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30.[IMPERIAL HOTEL] INUMARU Tetsuzô. THE IMPERIAL HOTEL GUIDE. N.P., N.D. [Tôkyô, 30s?] Decorated wrappers. 14.6 x 9.1 cm. Bi-lingual English-Japanese PreWar guide to services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The brief introduction is by Inumaru, who revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition - unillustrated save the covers.

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31.[IMPERIAL HOTEL] INUMARU Tetsuzô. THE IMPERIAL HOTEL GUIDE. N.P., N.D. [Tôkyô, 30s?] Decorated wrappers. 14.5 x 9.0 cm. Bi-lingual English-Japanese PreWar guide to services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The brief introduction is by Inumaru, who revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition - unillustrated save the covers.

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32.[IMPERIAL HOTEL] N.P., N.D. [Tôkyô, 20s?] Oblong ribbon-bound illustrated wrappers. 11.7 x 15.2 cm. Japanese PreWar précis of services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The covers illustrate the layout of the hotel complex and there are ten color photo illustrations of interior and exterior views. The Imperial Hotel, through the influence of its long-time general manager, Inumaru Tesuzo, revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Faint dust-soiling along top edge of one cover, else fine. The illustrations are lovely.

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33.[IMPERIAL HOTEL] TEIKOKU HOTERU Tôkyô. N.D. [30s?] Illustrated wrappers. 16.3 x 11.6 cm. Japanese PreWar précis of services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The covers illustrate a watercolor of the Hotel and inside there are ten b+w photo illustrations of interior and exterior views. The Imperial Hotel, through the influence of its long-time general manager, Inumaru Tesuzo, revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition.

 

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34.KITASONO Katue, et al. AMA NO MAYU. Tenmeisha, Shôwa 21 [1946]. 8vo, 18.4 x 13.0 cm. This slender wrappered pamphlet, containing work by Kitasono, Murano Shiro (1901-75) and Osada Tsuneo (1902- 77), was published within months of the end of WWII, when Tôkyô still lay in ruins. It is a remarkable testament to the durability of the Japanese artistic spirit. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Very good condition, complete as issued.

$285.00

 

 

 

 

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35.KITASONO Katue, poet. FUDO. Shôshinsha, Shôwa 18 [1943]. 8vo, 20.4 x 14.0 cm. One of 1500 copies. An example of Kitasono's "plastic poetry". The dustwrapper, cover, the typography, all combine as a fluid visual container for Kitasono's brilliant poems. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Very good condition, complete as issued.

$850.00

 

 

 

 

 

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36.KITASONO Katue, poet. GARASU NO KUCHIHIGE poéme interieur. Tôkyô, Kokubunsha, 1956, #77 of 280cc., White, paper-covered boards in printed dustwrapper. 18.4 x 15.3 cm. Near fine collection of Kitasono's poetry. Excerpts from this "GLASS MOUSTACHE" collection were examined eloquently by John Solt in his work on Kitasono: SHREDDING THE TAPESTRY OF MEANING. Near fine copy, quite unusual.

$485.00

 

 

 

 

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37.KITASONO Katue, poet. KATAI TAMAGO. Tôkyô, Hanronsha, Shôwa 16 [1941]. 8vo, 21.6 x 15.4 cm. Limited edition, number 131 of 150 copies. Decorated cream boards in the original red dustwrapper. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Near fine condition in the slightly worn dustwrapper, complete as issued, in the original publisher's plain slipcase..

$950.00

 

 

 

 

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38.KITASONO Katue, poet. SUEMATSU Masaki, artist. MAHIRU NO REMON. Tôkyô, Shôshinsha, 1954. Folio, 32.0 x 24.5 cm. One of 30 deluxe copies (#9) of a total edition of 330 copies. Signed in bold calligraphy by Kitasono. Has 3 full page color prints by Suematsu Masaki (1908-97). An example of Kitasono's "plastic poetry". The slipcase, hardcover, the typography, all combine as a fluid visual container for Kitasono's brilliant poems. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Fine condition, complete as issued.

$3,600.00

 

 

 

 

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39.KITASONO Katue, poet. SUEMATSU Masaki, artist. MAHIRU NO REMON. Tôkyô, Shôshinsha, 1954. Small Folio, 27.2 x 18.7 cm. Out of series copy from the standard limited edition of 300 copies. There was also a large format special edition of 30cc. This example is distinguished by the fact that it is inscribed by Kitasono to the literary critic, poet and translator, Andô Ichiro (1907-72), who wrote important critical work on Kitasono.. Has 3 full page color prints by Suematsu Masaki (1908-97). An example of Kitasono's "plastic poetry". The dustwrapper, hardcover and the typography all combine as a fluid visual container for Kitasono's brilliant poems. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Slight browning, else fine condition, complete as issued.

 

$950.00

 
 

 

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40.KITASONO Katue, translator. LES JOUES EN FEU HI NO HOHO. Tôkyô, Hakusuisha, 1953, Decorated paper-covered boards in printed slipcase. 19.4 x 14.2 cm. Kitasono's translation of Raymond Radiguet's poetry. Near fine copy, quite unusual.

$600.00

 

 

 

 

 

 

 

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41.(Maki Haku, Artist) Brannan, Noah, & William Elliott, translators. FESTIVE WINE. ANCIENT JAPANESE POEMS FROM THE KINKAFU. New York & Tokyo: Weatherhill, 1969. #60 of 150 deluxe copies, signed and sealed by the artist Maki Haku and including 21 signed color woodblock prints by him, with ancient Japanese haikus on the facing pages. This deluxe edition is folio in size, 31.5 x 24.6 cm, and the prints have an image size of approx. 19.5 x 14 cm. It is printed on kyokushi handmade paper and bound in hemp and goatskin with a washi dustwrapper which has had a window cut in the area covering the title. This has been covered with a transparent plastic slip, producing light offsetting to the portion of the spine which has come into contact with this plastic film. It is housed in a cedar wood slipcase. Truly a deluxe production, this represents one of the finest books of its kind issued in the postwar period in Japan. It is about fine.

$3,600.00

 

 

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42.[MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, artist. TENSAI NO MATSURI. Tôkyô, Seiensô. Shôwa 40 [1965]. Number 6 of 85 of 150cc. [special edition], signed by Wakayama. Western-bound volume of "fables for adults", illustrated by Wakayama in his own technique of stencil art, named kôhan. 24.7 x 19 cm. There is an interesting kôhan pattern on the covers, enclosed in a cloth covered box and outer shipping box. The fine art printmaking technique of kôhan was developed in 1941 by Wakayama [1903-83], a close associate of Onchi Kôshirô. He was an enormously prolific single sheet printmaker using color woodblock and kôhan, but this charming little volume is one of his scarce and wonderful artist' books. It is in excellent condition throughout.

$475.00

 

 

 

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43.Nishiyama HOEN; Nishiyama KAN'EI. YUSEIRO GAKO. Osaka, Nishiyama Kinnosuke. Meiji 31 [1898]. 15.8 x 18.2 cm. Orihon folding album, a compilation of the work of Hôen and Kan'ei on Noh and Kyôgen scenes. Aoki Susandô and Yamada Unsôdô collaborated as sales agents for this work in Tôkyô and Kansai, and worked with Ozawa in Nagoya, as well. Though Hôen had died many years before, his son Kan'ei supplied the drawings based on his father's work. He died the year before this work appeared. There are 12 lovely double page color woodblock prints. Very good condition overall, with the original printed title label and covers. Quite unusual. We can find no reference to it in the standard references.

 

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44.[OLYMPICS] DAINIPPON TAI-IKU KYOKAI. DAI JUIKKAI ORINPIKKU TAIKAI HOKOKUSHO. Tokyo, Shôwa 12 [1937]. Thick paper printed wrappers, [4], 7, 2, 48 pages of photoplates, 455pp of text, with diagrams of the ceremonies and of the geographical surroundings. All the results of all the contests are published here. The illustrations emphasize the Japanese contingent at the Games, but have more universal interest, as well. The 1936 Olympics were followed avidly in Japan, as Tôkyô had been picked for the 1940 Olympics, which, of course, were never held. Some corner wear, about very good overall. Very unusual.

 

 

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45.[OLYMPICS] KISHIDA Hideto. DAI JUIKKAI ORINPIKKU TAIKAI TO KYOGIJO. Tôkyô, Maruzen, Shôwa 12 [1937]. Spiral-bound with photo- illustrated front cover, in the original printed slipcase. 26.0 x 22.0 cm. 128pp. Very comprehensive set of photos and captions, along with plans and elevations, illustrating the physical infrastructure of the 1936 Berlin Games. There was extensive interest in the 1936 Olympics in Japan, not only because Japan had joined Germany and Italy in the Anti-Comintern Pact (the origin of the Axis Alliance), but also because Tôkyô had been picked as the venue for the 1940 Olympics. Very good condition, throughout, complete.

 

 

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46.[OLYMPICS] WOLFF, Dr. Paul. WHAT I SAW AT THE OLYMPIC GAMES 1936. Maruzen, Tôkyô. N.D. [1937] Bound in cloth, 27.5 x 22.0 cm., in pictorial dustwrapper. Illustrated with 112 photos, the majority by Wolff, an important photographer of the time. Interesting in the fact that, though the copyright is registered in Germany, it published in Tôkyô and the text throughout is in English. In very good condition throughout. A very unusual photo-essay on the Games, with little of the implicit jingoism of many German productions at the time. If anything, there is a real impression of amity projected, among the many athletes of various nations and races. Hard to believe, looking at this book, that the world would be embroiled in brutal war within a very few years.

 

SOLD

 

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47.ONCHI Kôshirô, et al. HAKUBUTSU-FU. Tokyo: Shôwa 25 [1950]. Small oblong western-style book, printed paper-covered boards with a leather spine, 11.2 x 14.5 cm. An out-of-series copy of the edition of 200 [of 250] copies, signed and sealed by the editor, Onchi. This "NATURAL HISTORY SKETCHBOOK" represents the first creative effort of the ICHIMOKUKAI, the print group around Onchi. Though designed during the early years of the Pacific War, it wasn't actually printed until 1949-50 in a small limited edition. There are five color woodcut sôsaku hanga prints by each of the five artists involved; Onchi created the animal prints; Yamaguchi Gen did shells; Sekino Jun'ichirô, insects; Katô Tarô, trees; and Sugihara Masami, flowers: 25 prints in all. Plus, there is a printed "shita-e" style design on the contents page, and the title page and covers are printed as well. This is an extremely important and handsome work from Onchi's school. In near perfect condition in the original glassine in the original box with a printed paper label.

 

$1,850.00

 

 

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48.ONCHI Koshiro. Shikashû Anthology of Contemporary Japan NIHON NO HANA FLOWERS OF JAPAN. Tokyo: Hongakusha, Shôwa 21 [1946]. Another Hongakusha work, this one is edited by Onchi Kôshiro, and many of the lovely woodcut textual illustrations are by him as well. Other artists include the important Creative Print movement figures Kawakami Sumio, Kawanishi Hide and Maekawa Sempan. The poets include Satô Haruo, Kitahara Hyakushu and Onchi, himself. An important work, near fine in the original woodcut printed wrapper (by Onchi).

 

 

$985.00

 

 

 

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49.ONCHI Koshiro. Shikashû NIHON SANSUI. Tokyo: Fugaku Honsha, Shôwa 21 [1946]. Edited by Inoue Tôbun, this wonderful illustrated collection of poetry on the natural beauty of Japan is a testament to the resiliency of Japanese culture, published as it was just a year after the end of the war. Creative Print movement artists were deeply involved in the Fugaku Honsha: Onchi Kôshiro did the binding (an original woodcut design), and Yamaguchi Susumu, Azechi Umetarô, and Maekawa Sempan contributed the color woodcut illustrations. The poets are distinguished, as well: Onchi, himself, Itô Sei, Kitahara Hyakushu, and many others. In the original printed dustwrapper, near fine.

SOLD

 

 

 

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50.[PAPERMAKING] GOTO Seikichirô. NIHON NO KAMI (JAPANESE HAND-MADE PAPER) Vol.1 Northeastern Japan. Vol.2 Western Japan Bijutsu Shuppansha, Tokyo 1958, 1960. 42.3 x 26 cm, Folio in size, bound Japanese style. With many paper samples, illustrated throughout with katazome prints. Volume 1 has a Bi-lingual English and Japanese text detailing a journey to the main paper-making sites in Northeastern Japan undertaken in 1957 by Mr. Gotô, the foremost scholar of papermaking in the post war period. The second volume details a similar trip to Western Japan. Both volumes are signed in Kanji by Gotô and numbered as #45 (out of a edition of 200) Our volumes are both in their individual tied chitsu and shipping boxes. A lovely set of this classic work. There is a bit of fore-edge foxing, else near fine condition overall.

$3,500.00

 

 

 

 

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51.[PHOTOGRAPHY - AVANT GARDE] KOISHI Kiyoshi. SATSUEI - SAKUGA NO SHINGIHO. Tokyo: Genkôsha, Shôwa 11 [1936]. Small square 8vo., cloth-bound, no jacket as issued, in a printed cardboard slipcase. Koishi was one of the most important photographers of Japan in the prewar period. His breakthrough photo book, EARLY SUMMER NERVES, is considered one of the finest works of avant-garde photography ever produced. Here Genkôsha has commissioned him to create a guide for creating photos with his new and experimental techniques of framing and development. Its 294 + pages are shot through from beginning to end with b+w reproductions of his experimental photography. Overall very good condition. Very unusual.

 

 

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52.[PHOTOGRAPHY, JAPANESE] FUKASE Masahisa. MEMORIES OF FATHER [CHICHI NO KIOKU] Tokyo, IPC, 1991. Small square 4to, wrappers, very fine in the original jacket and wraparound band. Brilliant and moving photographic record of Fukase's father's life and, particularly, his old age and death. Fukase's ability to convey emotion through his art was devastating.

 

SOLD

 

 

 

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53.[PHOTOGRAPHY] KIMURA Sôhachi, text SUZUKI Yoshikazu. GINZA KAIWAI GINZA HATCHO. Tôkyô, Tôhô Shobô, Square 8vo., 2 volumes. Important and well known early postwar essay and photo-essay together. The text, embellished with woodblock prints and halftone illustrations, traces the history of the upscale Ginza shopping district, back to the beginning of the city of Edo [Tôkyô]. It was written by Kimura, a very important visual artist and essayist of the time. The photoessay is remarkably similar to Ruscha's famous EVERY BUILDING ON THE SUNSET STRIP, which he published some 12 years later. Photographed by Suzuki Yoshikazu, I would find it hard to believe that it did not provide the inspiration for Ruscha's later work. The buildings on the Ginza frame the conceptual "road" that lies between the two sides of the street, much as the buildings on the banks frame the river in Hokusai's iconic "Sumidagawa Ryôgan Ichiran". Complete, the text in its slipcase and both volumes enclosed in the original shipping box with title label. The photoessay volume has a bit foxing. A very good copy of this wonderful work.

 

SOLD

 

 

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54.[PREWAR ADVERTISING] TOTOKI [Nobutomi?]. SHOGYO BIJUTSU POSUTAA SHUSEI. Osaka: shôgyô Bijutsu Shuppansha, Shôwa 9 [1934]. Large clothbound 8vo., in printed slipcase. 104 posters are illustrated in b+w. All are credited to their designers. The catalogue of a major annual exhibition of industrial art held in Osaka by the Commercial Art League. A very useful guide to the commercial art of the time in Japan and an invaluable guide to the "players". The slipcase is a bit worn, but overall in very good or better condition. Very unusual.

 

SOLD

 

 

 

 

 

 

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56.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Dai Jûgo-go. Tôkyô, Shôwa 8 [1933]. 28.5 x 20.8 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number fifteen of this important monthly journal. Most of the prints (including works by Kawakami Sumio and Maekawa Sempan) were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. However, significantly, the color cover has an image by Taninaka Yasunari, one of the most interesting and least prolific of all the talented printmakers of the time. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Very good condition.

 

SOLD

 

 

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57.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Dai Jûhachi-go. Tôkyô, Shôwa 8 [1933]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number eighteen of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. Seven of them were also colored by hand. There is also one lovely color woodblock by Urata Giichi, printed from 5 blocks. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU.Very good condition.

SOLD

 

 

 

 

 

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58.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Dai Jûkyûgo. Tôkyô, Shôwa 8 [1933]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number nineteen of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. There are 8 wonderful hand-printed stencil prints, done Ryô Chômei (1899-1982) There is also one lovely color woodblock by Urata Giichi. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Very good condition.

SOLD

 

 

 

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59.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Nijûni-go. Tôkyô, Shôwa 9 [1934]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number twenty-two of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. Several appear to be hand-colored or stencil-colored, including a few by Ryôji Chômei. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Very good condition.

SOLD

 

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60. [SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Nijûni-go. Tôkyô, Shôwa 8 [1933]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print Movement. This is number twenty of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. Several appear to be hand-colored or stencil-colored, including a few by Ryôji Chômei. There is a hand-printed color woodblock print by Urata Giichi. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Very good condition.

SOLD

 

 

 

 

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61.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Sanjûkyû-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number thirty-nine of this important monthly journal. (Strangely enough, by some misadventure, both volume four, number six and volume four, number seven were called series number thirty-nine). Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. The whole suite was designed by Ita Yûsei (1889-1956). From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. This volume depicts folk toys from San'indô. Very good condition.

 

SOLD

 

 

 

 

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62.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Sanjûkyû-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number thirty-nine of this important monthly journal. (Strangely enough, by some misadventure, both volume four, number six and volume four, number seven were called series number thirty-nine). Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. The whole suite was designed by Nakata Kazuo. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. This volume depicts folk toys from the western Kinki region. Very good condition.

SOLD

 

 

 

 

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63.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Sanjûshichi-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number thirty-seven of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. The whole suite of prints depicting Fushimi Ningyô was designed by Okada Kiichirô (1910-2001). See the link at http://www.d4.dion.ne.jp/~toshi-mr/okud/ From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Very good condition.

SOLD

 

 

 

 

 

 

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64. [SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûhachi-go. Tôkyô, Shôwa 11 [1936]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number forty-eight of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. The whole suite of prints depicting toys from Hokuriku was designed by Kobayashi Asaji (1898-1939). Slight cover foxing, very good condition.

SOLD

 

 

 

 

 

 

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65.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûichi-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number forty-one of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai- zuri]. The whole suite of prints depicting toys from Akita was designed by Katsuhira Tokushi (1904-1970). From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. Some internal foxing, else good condition.

SOLD

 

 

 

 

 

 

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66.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûkyû-go. Tôkyô, Shôwa 11 [1936]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print Movement. This is number forty-nine of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. The whole suite of prints depicting toys from Tôhoku was designed by Ryôji Chômei (1899-1982). Some foxing and staining, else good condition.

SOLD

 

 

 

 

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67.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûni-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is number forty-two of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. The whole suite of prints depicting toys from Musashi was designed by Enami Shirô (1901-?). Some foxing, else good condition.

SOLD

 

 

 

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68.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûsan-go. Tôkyô, Shôwa 10 [1935]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print Movement. This is number forty-three of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. The whole suite of prints depicting toys from Shikoku was designed by Fujimoto Tôichirô. Very good condition.

SOLD

 

 

 

 

 

 

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69.[SOSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Yonjûshichi-go. Tôkyô, Shôwa 11 [1936]. 28.3 x 20.4 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print Movement. This is number forty-seven of this important monthly journal. Most of the prints were printed from blocks in b+w and some color, by mounting them into the printing press [kikai-zuri]. From a series done on Japanese folk toys, titled ZENKOKU KYODO GANGU-SHU. The whole suite of prints depicting toys from eastern Kinki was designed by Tsukioka Ninkô (1897-1976). Some foxing, good condition.

SOLD

 

 

 

 

 

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70.[STORE DISPLAY] HIRAIWA Toshiji. Shôten, Depaato CHINRETSU KAGU SEKKEI ZUSHU. Tôkyô, Kôyôsha, Shôwa 9 [1934]. Large format 25.8 x 19.3 cm, tied portfolio of 89 (of 90) plates, with measured drawings of all manner of display cases, display furniture, etc., for shops and department stores.

$250.00

 

 

 

 

 

 

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71.Sugiura HISUI, designer. MITSUKOSHI; MITSUKOSHI TIMES; OSAKA MITSUKOSHI Tôkyô & Osaka, 1908-1923. Western-style magazines, 24.9 x 18.4 cm, decorated wrappers. Lovely covers, most by Sugiura Hisui [1876-1965] or designed under his supervision. Hisui is the most important figure in the development of Japanese commercial art in the 20th century, the progenitor of "Taishô Chic" and a force to be reckoned with as a practical designer at Mitsukoshi and an educator at the Japan School of Art, the Imperial School of Fine Art and the Tama Imperial School of Art which he co-founded. He even spent two years in Europe in the early 20s, researching design. He created many portfolios of design examples for professionals, wrote treatises on the principles of design and was a tireless creator of posters and magazine covers. He began work at Mitsukoshi in 1908 as a design consultant in charge of cover art for the house organ, MITSUKOSHI TIMES. When MITSUKOSHI magazine began in 1912, he had already been promoted to head of design for the company a year earlier and stayed in that position for decades. His artwork graced the covers of many magazines over the years, but it was his work for MITSUKOSHI and MITSUKOSHI TIMES and OSAKA MITSUKOSHI that began his design career.

We are offering here a group of issues of those magazines, most with his brilliant cover art. The magazines, as a form of trade catalog and guide to fashion for the well-heeled clientele of Mitsukoshi department store, were intrinsically ephemeral. They are hefty magazines, a vade mecum for the bon ton, with pictures of summer frocks, kimono fabrics, morning coats, shoes - with instructions on how they should be cleaned, stored, worn. With pictures and prices and order sheets. Useful and used, then thrown away, they are seldom found today. A gathering of this size is quite unusual, especially as it begins with issues of MITSUKOSHI TIMES from 1908 - the year that Hisui took over design responsibilities for the house organ.

The issues:

MITSUKOSHI TIMES 11 issues from 1908-13 (Oct & Nov, Meiji 41 {1908}; V.8, #s 4 & 6; V.10, #s 9 & 11; V.11, #s 4, 7, 11 & 14 V.12, #3).

MITSUKOSHI 31 issues from 1912-1923 (V.2, #4; V.4 #s 5, 6, 7 & 8; V.5 #s 4, 5, 7 & 8; V.6 #s 2 & 11; V.7 #s 6, 7 & 8; V.8, #s 2, 3, 4, 5 & 7; V.9 #s 4, 5, 6, 7, 9 & 12; V.10 #s 4, 6 & 12; V.11 #11`; V.12 #3; V.13 #6).

OSAKA MITSUKOSHI 2 issues, V.4 #8 [1915] and v.6, #5 [1917].

A few issues have a bit of cover loss, crumbling spines, rusting staples, etc. but overall good condition for this remarkable document of design, fashion and social history at a turning point in Japanese (and world) history - the period before and during the first Great War which changed the world forever. 44 issues in all.

$4,850.00

 

 

 

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72.TAKEUCHI Seihô, artist. SEIHO TABI SUZURI. Kyôto & Tôkyô, Shôwa 28 [1953]. Small, 21.0 x 15.5 cm, cloth, tied portfolio of 50 mounted color woodblock printed by Unsôdô a few years after Seiho's death. It originally appeared in 1948 and here the 8 parts are combined, with the 8 descriptive prefaces (in Japanese), edited by Takeuchi Shirô. A life-long traveler and important artist, here Seiho's sketches of his travels, with his notes, poems, etc., are meticulously reproduced. Some of the backing sheets employed are a bit acidic and the prints show the effects, but most are in remarkably good condition, considering the difficulties of printing in early Occupation Japan. Complete.

SOLD

 

 

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73.WIRGMAN, Charles. THE JAPAN PUNCH Yoko-Hama 1887 February. 35.1 x 25.0 cm. As usual, containing 10 full pages of text and illustrations in b+w, reproducing in lithography the hand-writing and satirical sketches of the inimitable Mr. Wirgman. There are two pages of all text, the others are illustrated. The high-quality Japanese paper is very thin but strong and still supple. There is a bit of creasing, but overall in very good condition. Published on and off for over twenty years, THE JAPAN PUNCH is an interesting guide to the foreign community in early Meiji Japan, their interests and their intrigues.

$750.00

 

 

 

 

 

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74.[WOODBLOCK PRINTING] CLAUDEL, Paul. SAINTEGENEVIEVE Poéme Par Paul Claudel. Tokio, Chinchiocha, A.D. 1923. #610 of 1000cc. Tall folding album, 32.5 x 13.5 cm, bound in paulownia wood [kiri]. An illustration by Tomita Keisen and a page reproducing Claudel's script were cut into woodblocks by the master Igami Bonkotsu, as well as the title design by Noemi Pernessin and a series of text illustrations by Audrey Parr. The rest of the text, which is entirely in French, is typeset. A lovely French-Japanese collaboration, created at the moment that Tôkyô was crushed by earthquake and fire. In the original publisher's clasped chitsu case. Near fine.

$1,250.00