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JAPAN AND ASIA

 

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ILLUSTRATED WITH 48 HAND-COLORED ENGRAVINGS

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1.ALEXANDER, William. THE COSTUME OF CHINA, ILLUSTRATED IN FORTY- EIGHT COLOURED ENGRAVINGS. London: William Miller, 1805. Aquatint dedication leaf, followed by the title leaf, a 'List of Subsrcibers' [2] ff., 48 hand-colored aquatint plates interleaved with [48] leaves of descriptive letterpress printed on rectos only, and an 'Index' leaf with directions to the binder. This copy lacks the half-title and the dedication has been bound in its place. Besides costumes, the plates show cities, habitations, temples, boats, etc. Quarto, 33 x 25.5 cm, contemporary light brown, straight grain morocco with gilt borders on sides, gilt decoration and title on spine, gilt inner dentelles, a.e.g. Ex library, but with minimal markings: a small 'withdrawn from collection' stamp on recto and verso of ffep., a perforated stamp and small ink stamp to t.p., and a small ink stamp on first text page. Binding is worn at edges, rubbed along joints, and shows small loss at either end of spine. The first text leaf is moderately spotted; otherwise there is only occasional light spotting and offsetting to some text leaves, and very light spotting to a very few plates. William Alexander (1767-1816) is best remembered for his work on China in a period in which the Chinese style greatly influenced the decorative arts in Britain. He travelled to China as draughtsman with Lord Macartney's Embassy to the Emperor in 1792-4. Besides the present work, his drawings illustrative of the expedition were engraved for the official record: G. Staunton's An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China, 1797, and another of his own publications, Views of the Headlands, Islands, etc. (1798). His designs were also used for the aquatints in John Barrow's A Voyage to Cochin China, in the Years 1792, and 1793 (1806). (Oxford DNB; Abbey Travel, 534; Tooley English Books, 18; Cordier Sinica III, 1858-9).

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2.[ARCHITECTURE] IMAI Kenji. SOUEETO ROSHIA SHINKO KENCHIKU ZUYO. Tokyo, Kyôyôsha, Shôwa 6 [1931]. 1st Printing. 8vo. size portfolio of 54 plates, complete. Details the "New Architecture" of the Soviet Union, crediting the prominent buildings to their creators, including brief plans and pictures. Imai Kenji [1895-1987] was an eminent architect and scholar, whose few commissions were eclipsed by his enormous influence as a teacher who mediated the introduction of modern architectural trends to Japan. A bit worn but very good condition overall.

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3.ATOMIC POWER] USIS - ASAHI SHINBUNSHA. GENSHIRYOKU HEIWA RIYÔ NO SHIORI ATOM. Magazine format in illustrated wrappers, 29.7 x 1.0 cm, guidebook to the first "ATOMS FOR PEACE" exhibition put on in Japan in accordance with President Eisenhower's outreach program aimed at domesticating nuclear energy. The exhibition was held in Hiroshima in 1956. There were models of atomic planes, trains, ships, factories, hospital procedures, both diagnostic and palliative, electric power plants etc., etc. Some of those plans till await future fruition, others are a part of the daily life of the world. But not all the swords were beaten into plowshares, as we all know, and the choice of Hiroshima as a venue must have been painful for many there, one would think. There is some wear, chipping and rubbing of the covers, about good overall.

$145.00

 

 

 

 

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4.[CHILDREN'S BOOK] KINDAABUKKU TSUBAMENOOUCHI Dai Yon-kan Dai Kyû- go. Tôkyô, Shôwa 7 [1932] Color-printed stapled wrappers, 22.2 x 15.1 cm. Illustrated throughout with wonderful drawings, some in color. Insects and children and dance instruction - the cover is by the inimitably charming Takei Takeo. There are stories and songs - a great little periodical. Very good overall.

$225.00

 

 

 

 

 

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5.[CHILDREN'S BOOK] Nihon Kyôiku Ongaku Kyôkai. EHON SHÔKA Natsu no Maki. Tôkyô, Shôwa 7 [1932] Color-printed stapled wrappers, 22.8 x 15.3 cm. Illustrated throughout with wonderful color drawings, creatures of the sea and land playing musical instruments - the cover is by the inimitably charming Takei Takeo. There are stories and songs - the "Summer Volume" of this great little periodical. Very good overall.

$225.000

 

 

 

 

 

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6.[CHILDREN'S THEATRE] UCHIYAMA Kendô. KODOMO NO TAME NO NINGYÔ KYAKUHON Dai 1-shû. Tôkyô, Bunka Shobô, Shôwa 7 [1932] 25.1 x 15.7 cm. 8vo., bound Western-style in cloth covers with printed design. This is the first in a series of puppet play compilations authored by Uchiyama [1899-1979]. There are photos of children watching the plays being performed (a single puppeteer manipulated the characters in a Western "Punch and Judy" fashion.) The back cover is cracked internally so it doesn't show on the outside. Otherwise, a wonderful and lively book design in about very good condition.

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8.[DESIGN BOOK] Furutya KÔRIN, artist. TAKE ZUKUSHI. Oblong orihon, 18.3 x 24.9 cm, Original covers and binding, title page printed on cover. Inside front cover blank; 25 pages, 50 illustrations in colour, printed on one side only; last page colophon: Date: Meiji 38 [1905] Artist: Furuya Korin. Publisher and printer: Yamada Naosaburo, Kyoto. Lovely small designs based on a bamboo motif, by the important design publisher Unsodo and Kôrin, who, along with Kamisaka Sekka, dominated the design world of late Meiji early Taisho Japan. A very good copy in excellent early impressions with mineral pigments and overprinting.

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9.[DESIGN] FURITSU TOKYO SHOKO SHOREIKAN. SHOHIN ISHO ZUANSHU 1937. Tôkyô, Isseisha, Shôwa 12 [1937]. Portfolio, 25.8 x 19.0 cm., 28 photo plates of commercial designs published by the Tokyo City Institute for the Encouragement of Commerce and Industry. Very good overall. Unusual.

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10.[DESIGN] HARUNA Shigeharu, editor. Kôgei Ôyô ZUAN ZASSHI 7 issues. No.'s 20-26, Tôkyô, Meiji 26-27 [1893-4]. 24.5 x 16.6 cm. Stab-bound wrappers in woodblock printed paper covers. Haruna Shigeharu (1847-1913) was a pottery painter born into the upper classes in Ishikawa prefecture, here using his artistic and design skills to organize and edit this "PRACTICAL ARTS DESIGN MAGAZINE", full of black and white design ideas and articles on such topics as the Columbian Exposition, etc. Very unusual periodical, here in very good condition, inside and out. A short but continuous run.

$600.00

 

 

 

 

 

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11.[DESIGN] Kamisaka SEKKA, designer. KOROMOGAE 2 vols. Kyoto, Unsôdô, Meiji 34 [1901]. Oblong, 19 x 26 cm, tassel-bound volume of Sekka's kimono designs. One of the scarcest of all Sekka's works, delicately printed in bokashi colors and metallic inks. Very good overall in excellent impression. Almost unknown outside Japan and scarcely within.

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12.[DESIGN] Kobayashi GYOKUNEN. TAMA KAGAMI. Kyôto, Fujisawa Shuppanbu, Meiji 34 [1901] 25.1 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 25 color pages of wonderfully well printed and overprinted creative designs including one 3 fold color printed frontispiece. Overall the condition is very good. This is the second "earth" volume, usually of a set of three, but we have never seen the third "man" volume and assume it was never printed, especially as there is a colophon at the end of this, the second volume. Beautiful design book. Gyokunen's work is much sought-after.

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13.[DESIGN] MIYAKO SOMENISHIKI Tsurukame ZEN. Okada Shinjirô, Kyôto, Meiji 30 [1897]. 24.7 x 16.7 cm. Printed title on the cover. String-bound, Japanese-style, fukuro-toji. One of several different works with the same title from the turn of the century, this collection of 20 kimono designs (numbered one through twenty) is extremely well-printed. Other designers from the series include Furuya Kôrin, but these designs by Totsu(?) Kichijirô appear more delicate. Very good overall, inside and out, the impressions and colors are excellent. A lovely, if a bit mysterious, example of the genre.

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14.[DESIGN] ONNA SHOREISHÛ, Vols. 1-5. {Genbun 3 [1738]}. 27.5 x 19.3cm Ôbon, String-bound, Japanese style, fukuro-toji. Original covers, remains of original title slips on three of the volumes. The Genbun edition originally consisted of seven volumes in six books, so here the sixth book is missing. Compares identically to the Boston MFA copy of the Genbun edition. The set is a very important guide to feminine roles and responsibilities. There are place settings, banquet layouts, travel customs, etc., etc. Everything the high-born lady would need to know. The 14 page section of images of kimono designs in volume one represented the first such design publication in Japan when it first appeared in Manji 3 [1660]. The illustrations have sometimes been attributed to Hishikawa Moronobu but there is no convincing proof of that save the style, which is reminiscent of his work. Our copy has worn covers, but the interior is quite good, in good impression. An important and very scarce work, usually only fragments are found, a volume here or there. In a custom clasped chitsu case.

$2,400.00

 

 

 

 

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15.[DESIGN] SHIMOMURA GYOKKO [TAMAHIRO]. SHIKISHIMA-GATA Volume 8. Kyoto, Honda Unkindô, Meiji 38 [1905]. 20 x 12.5 cm. Volume 8 of the important ten volume series, designed by Shimomura, a protege of Kamisaka Sekka and master designer in his own right. There are 20 color illustrations in this volume. The original edition, very good impressions and colors. Some edge-nibbling and cover soiling. Very unusual, even as an individual volume.

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16.[DESIGN] SHIMOMURA Tamahiro, owner. KÔRIN GAFU 3 vols. Kôto [Kyôto], Kôkandô Zôhan. Vegetally decorated blindstamped original covers with original printed paper title labels. No date, either on the preface(s) or colophon. Kôkandô was a remarkably long-lived publisher/printer who turned out wahon and kanseki (Japanese and Chinese) traditional books from the late 17th to the late 19th century. The covers and the paper of this copy at hand make me think early to mid 19th century. The only other copy I have located is in the Diet Library and they do not hazard a guess as to the date of publication. There is no help from knowing the name of the designer as we do not. The designs are in a deceptively simple sumi Rimpa idiom but they are very sophisticated, at least they seem so to us. The most interesting thing about the book, (it is very scarce and unknown outside Japan) is its former owner. It has the rather prosaic-looking seal of Shimomura Tamahiro (Gyokkô), who, along with Kamisaka Sekka and Furuya Kôrin, dominated the world of Kyoto design from the turn of the 20th century. It is always fun and interesting to know what books artists owned, to what design books designers had recourse to even more so. This copy is unique for that reason. Very good condition and printing throughout.

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17.[DESIGN] Tawaraya SOTATSU, artist. HATO. Kyoto, Meiji 43 [1910], Unsôdô. 37.4 X 26.5 cm. A lovely large scale folding album of wave designs in metallic inks, based on designs by Sôtatsu, the important early 17th century proto-Rimpa pioneer. With 22 well- printed color full-page images. The covers printed after calligraphy by Tomioka Tessai. Restored and lovely, near fine. Without the wraparound sleeve.

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18.[DESIGN] UNSODO, Publisher. BIJUTSUKAI. Kyoto, Unsôdô, Meiji 37 [1904]. 23.9 x 16.1 cm Assorted designs assembled by the publisher from the BIJUTSUKAI design series. This collection of 100 color woodcuts are the equivalent of 5 of the original 70 issues of the design magazine, made up by Unsôdô several years after it ceased publication and tassel-bound here into the covers of the third volume. Very good condition, colors and printing. An important work.

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19.[EARTHQUAKE] TOKYO MUNICIPAL OFFICE. THE RECONSTRUCTION OF TOKYO. Tokyo, 1933. Thick small folio, in red patterned cloth. 419pp. With a large folding map in the back pocket. Photographically illustrated throughout. A remarkable guide to the destruction by earthquake and fire in 1923 and subsequent reconstruction of the Japanese capital. The new city center would all but disappear some 12 years later, destroyed by American fire bombing in the last days of the war. A near perfect copy of this important book, in the special leather binding, all in the original publisher's box with paper title label.

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20.[EHON] Katsushika HOKUSAI. Denshin Kaishu IPPITSU GAFU Zen. Eirakuya Tôshiro, Nagoya. String-bound, Japanese-style, fukuro- toji. 22.7 x 15.8 cm. [No Date, c. 1835] Orange covers with Eirakuya pattern, chipped printed paper title label. Originally published in the 1820's, this copy was issued with the C1, 20 ads (after Forrer) in the mid-1830s. Complete as issued, color illustrations in an abbreviated "ryakuga" style, the conceit being that they were done with one stroke ("ippitsu") of the brush. Good impression, colors and good condition overall.

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21.[Ehon] Kawanabe Kyôsai, artist. KYOSAI RAKUGA. (By Kawanabe Tôiku) Tokyo: 1881. 2 volumes (complete), 22.2 x 14.6 cm, bound album style with 17 double page color woodcut images in each volume. The condition of covers and contents is quite good. The impressions and colors range from good to very good. Mitchell [p.940] finds the RAKUGA "Kyôsai's finest work in book form", and Brown [p.196] "the rarest of Kyôsai's books" (along with the HYAKU [sic] GADEN). Kyôsai is, of course, an important figure in the history of the woodblock illustrated book,

$2,500.00

 

 

 

 

 

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22.[EHON] Nakabayashi CHIKUTO, artist. YUSAI GAFU. Kyoto: Hishiya Magobei, Kôka 3 [1846]. 25.6 x 16.4 cm. Orihon folding album in stiff covers with printed paper title label. Interesting edition of this book of delicately printed designs after Chikutô [1776-1853]. Approved in Tempô 12 for publication, it originally appeared, as here, in 1846, printed by Hishiya Magobei. [Mitchell 559-60]. It has the same collation as that version, with seals on the preface and the pictures. The impressions are quite lovely. A wonderful "Chinese-style" ehon of the late Tokugawa period. In a custom clasped chitsu case.

$2,500.00

 

 

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23.[EHON] Ooka Shumboku, artist. MINCHO SHIKEN. Kyôto, Hishiya Magobei. 3 vols., 27.6 x 17.7 cm., string-bound Japanese-style fukuro toji. Cream paper covers with printed paper title labels. A reprint of the rare MINCHO SEIDO GAEN of 1746. This edition is almost certainly later than the original Hishiya Magobei edition of 1813, it does not have the final "authentification" seal of the Bunka edition [see Mitchell example "B" at p.416] According to Hillier [Vol.1 pp.206-7], the original outline blocks were employed with new color blocks. Though Hillier and Mitchell point out the diminished printing quality of later editions compared to the original, it should be noted that the original edition, one of the first color printed Japanese books, is a work of great rarity and beauty. The true Bunka edition that we have seen, usually dated to 1813 is still a lovely book with the use of bokashi, etc. The edition at hand here is further diminished, but, that said, it is still a lovely book. See Brown, pp.70-1. Also, it should be noted that the original edition only consisted of two volumes (the planned third volume did not appear then.) The Bunka edition and later ones, like this, add that series of lovely images in a third volume, completing the original conception of the artist. The printing and colors are good. Overall, good to very good condition, in a worn blue cloth (Hishiya Magobei style) chitsu clasped case [clasps missing] with the remains of a printed title slip matching those on the books themselves. Complete.

$3,500.00

 

 

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24.[EHON] Ôishi Shûga, artist & Hokusai. SAN-Ô SHINKEI. Bunsei 5 [1822] N.P. 17.1 x 24.7 cm. Orihon folding album in the original blind-patterned covers with a brushed paper title label. 3 page preface, signed Shunyô Yûjin Môhitsu, who appears to have been the editor. The first illustration of Fuji is signed Ôishi Shûga hitsu and Katsushika Hokusai hitsu. Our version has 34 double page images of Fuji. This interesting book of views of Fuji throughout the seasons exists in many varieties. Most have but 31 or 32 images, some have no postscript, others a two page preface signed by Kobayashi Chôshû. Mitchell lists a volume with the same title, but different content. Kerlen lists two different variations at page 573. The Ravicz copy described at Hillier 872 appears to be incomplete with only 15 views. The copy at hand here, however, is a very lightly printed version which credits Hokusai, as well as Ôishi Shûga. It is a bit rumpled and a few pages are marred with a few small ink spots but overall the condition is good, by no means a common book.

$2,250.00

 

 

 

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25.[EHON] Takai Ranzan, editor. TOSHISEN EHON [T'ANG POETRY] Complete 35 volume set. Edo, originally published from the Temmei into the Tempô era [1790s to 1830s]. In 7 sets of 5 volumes each. Though all the sets are profusely illustrated, the most famous and sought after are the two 5 volume sets illustrated by Hokusai in the 1830s, his 5 syllable and 7 syllable T'ang Poetry compilations, with some of the most interesting and compelling images from his "Chinese style" - still unmistakably his own. The volumes are all in very good condition with some cover rubbing. Impressions ranging from good to very good, original title labels, etc. The blocks were cut by Sugita Kinnosuke, the publisher was Kobayashi Shimbei. With all the colophons (several sets have ads, as well) - from the printings a mid 19th century edition or a bit earlier. Complete, in a contemporary late Edo wooden case with calligraphed title.

$4,850.00

 

 

 

 

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26. [EHON] Yashima GAKUTEI, artist. ICHIRO GAFU. Gasendô, 1823 [zodiacal date]. 22.8 X 16.1 cm. Blind-patterned grey-green covers, dark blue printed paper title label, fukuro toji binding, string- bound Japanese style. Illustrated throughout in color with many single and double page landscapes with figures. [Re: Hillier & Smith #127; Hillier Vol.2 p.854,5; Ryerson 277] An important classic which Hillier explains is a reprint, without the verse, of an earlier two volume privately printed "Kyokabon", entitled "Sansui Kikan Kyôka Shû" by Gakutei. Our copy is identical in collation to the one Ryerson copy, with all sheets, including the double page image at sheet 10/11 which is very frequently missing. Thus there is a total of 24 single page and 8 double page images in delicate colors. The impressions, colors and condition are very good. There is a collection label on the front cover. One volume, complete.

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27.(HOKUSAI MANGA) Katsushika I-itsu Denshin Kaishu HOKUSAI MANGA Happen. {Edo: Kadomaruya, Bunsei 2 [1819]}. 22.5 x 15.9 cm. String-bound Japanese-style, fukuro-toji. Original covers with printed paper title label. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, an early issue of volume eight, a book usually seen in late Edo-era, early Meiji versions. With an 8 page Kadomaruya advertisement bound in at the back. The printing is good, at first glance it seems light, even worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, BUT, such early issues as this have utterly disappeared from the marketplace and are highly prized. The back cover and inner back cover colophon pastedown are gone, replaced by a plain paper cover.

$600.00

 

 

 

 

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28.(HOKUSAI MANGA) Katsushika I-itsu [Denshin Kaishu] HOKUSAI MANGA Ni-hen. Nagoya: Eirakuya & Edo: Kadomaruya, N.D. 22.7 x 15.7 cm. Vol. 2. String-bound Japanese-style, fukuro-toji. Original covers with brushed title. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. Here, the covers are definitely of the Kadomaruya "flavor" but the pseudo-colophon and ads correspond to the Eirakuya "A2; 01" designation for dating purposes developed by Matthi Forrer in his EIRAKUYA TÔSHIRÔ Publisher at Nagoya. The date thus corresponds to 1814/5, just about the time this volume two of the series was produced. Like all MANGA volumes it is a book usually seen in late Edo-era, early Meiji versions. The printing is good, at first glance it seems light, even worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, there is some rubbing damage beyond mere thumbing, BUT, such early issues as this have utterly disappeared from the marketplace and are highly prized.

$1,250.00

 

 

 

 

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29.(HOKUSAI MANGA) Katsushika I-itsu [Denshin Kaishu] HOKUSAI MANGA Jû-hen. Edo: Kadomaruya, Bunsei 2 [1819]. 22.7 x 16.0 cm. String- bound Japanese-style, fukuro-toji. Original covers with brushed title. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, an early issue of volume ten, a book usually seen in late Edo-era, early Meiji versions. Volume ten concluded the series in its first iteration. With an 8 page Kadomaruya advertisement bound in at the back. The printing is good, at first glance it seems light, even worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, there is significant worming and some rubbing damage beyond mere thumbing, BUT, such early issues as this have utterly disappeared from the marketplace and are highly prized.

$725.00

 

 

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30.(HOKUSAI MANGA) Katsushika I-itsu [Denshin Kaishu] HOKUSAI MANGA Roppen. Edo: Kadomaruya, Bunsei 2 [1819]. 22.7 x 15.9 cm. String- bound Japanese-style, fukuro-toji. Original covers with brushed title. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, an early issue of volume six, a book usually seen in late Edo-era, early Meiji versions. With an 8 page Kadomaruya advertisement bound in at the back. The printing is good, at first glance it seems light, even worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, BUT, such early issues as this have utterly disappeared from the marketplace and are highly prized.

$750.00

 

 

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31.(HOKUSAI MANGA) Katsushika I-itsu [Denshin Kaishu] HOKUSAI MANGA Yon-pen. Edo: Kadomaruya, Bunsei 2 [1819]. 22.7 x 16.0 cm. String- bound Japanese-style, fukuro-toji. Original covers with brushed title. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, a relatively early issue of volume four, a book usually seen in late Edo-era, early Meiji versions. With an 8 page Kadomaruya advertisement bound in at the back. The printing is fair to good, at first glance it seems worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, BUT, such early issues as this have utterly disappeared from the marketplace and are highly prized.

$650.00

 

 

 

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32.(HOKUSAI MANGA) Katsushika I-itsu Denshin Kaishu] HOKUSAI MANGA San-pen. Edo: Kadomaruya, Bunka 14 [1817]. 22.6 x 16.0 cm. String- bound Japanese-style, fukuro-toji. Original covers with replaced, brushed title label. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, an early issue of Volume three, a book usually seen in late Edo-era, early Meiji versions. With an 8 page Kadomaruya advertisement bound in at the back. There are some badly rubbed spots, but the printing is quite good, at first glance it seems worn but examination under a lens reveals fine detail soon lost in later printings. There is internal and external soiling and rubbing, BUT, such early issues have utterly disappeared from the marketplace and are highly prized.

$675.00

 

 

 

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33.(HOKUSAI MANGA) Katsushika I-itsu HOKUSAI MANGA Kyû-hen. Edo: Kadomaruya, Bunsei 2 [1819]. 22.2 x 15.9 cm. String-bound Japanese- style, fukuro-toji. Original covers with replaced, brushed title label. Though Nagoya-based Eirakuya Tôshirô editions of the MANGA are quite common, the Edo issues by Kadomaruya are quite unusual. In addition, this is, of course, an early issue of volume nine, a book usually seen in late Edo-era, early Meiji versions. With an 8 page Kadomaruya advertisemnt bound in at the back. With one small round wormhole piercing many pages, the printing is good, at first glance it seems worn but examination under a lens reveals fine detail soon lost in later printings. A bit of internal and external soiling and rubbing, BUT, such early issues have utterly disappeared from the marketplace and are highly prized.

$750.00

 

 

 

 

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34.[HUMOR]. STRANGERS IN STRANGE LANDS. Translated by Dr. Humour. Tokyo: Bunrokudo, 1902. [iv], 91, [3] pp. Text entirely in English but for a Japanese colophon. Small octavo, 16 x 11 cm, paper wrappers printed in blue, red, and brown. Wrappers show light edgewear, some loss at crown, and light soiling; but the book is internally clean and in very good condition overall. In his brief preface to the work, Dr. Humour explains that the purpose of this collection, translated from a compilation by Haranoya, is to help the Japanese traveler to Europe and America by relating "accidents and incidents, joyful or shameful" of other Japanese abroad in order to avoid "the sneers and jeers of those with whom he comes into contact."

$185.00

 

 

 

 

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35.[MAVO] HAGIWARA Kyôjiro. SHIKEI SENKOKU. Tokyo, 1925. Prelims, 11pp, 6pp., 161pp., 5pp., finals. Profusely illustrated throughout in linocuts by Okada Tatsuo, Toda Tatsuo, and Yabashi Kimimaro. Wrappers designed by Okada. With the Okada-designed slipcase and very scarce as such. Perhaps the most important Mavo-inspired volume. Here in the second issue with the addition of color to the covers and a few of the plates. A cornerstone of any MAVO collection. The spine is darkened, the covers and slipcase are a bit rubbed. But all and all, a good copy of this fragile work. For more on its importance, see Weisenfeld's book, MAVO, JAPANESE ARTISTS AND THE AVANT GARDE, pp. 97-101.

$9,500.00

 

 

 

 

 

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36.[MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, artist. Kugashû CHIBATA. by TAKAHASHI Yûtarô. Tôkyô. Shôwa 43 [1968]. Number 43 of 80 of 100cc., signed by Wakayama and Takahashi. Western-bound volume of a "collection of porints and poems", illustrated by Wakayama in his own technique of stencil art, named kôhan. 23.6 x 19.2 cm. There is an interesting kôhan pattern on the covers, enclosed in a washi paper 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.

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37.MURAYAMA Tomoyoshi, author. SHINSENGUMI. Tôkyô, Koide Shobô., Shôwa 12 [1937] Western-style 8vo. cloth binding with laid down color illustration on the front cover and an edgeworn printed paper title label on the spine. 395+ pp., all in the publisher's original cardboard slipcase with a printed paper title label. Save for the label wear, near fine. This is Murayama's first full length novel, an interpretation of modern Japanese historical development from the Meiji Restoration on using a Marxist idiom. The binding was designed by Kimura Sôhachi.

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38.MURAYAMA Tomoyoshi, et. al. SOBIEETO NO TOMO 5 Issues and membership card. Tôkyô: Sobieeto no Tomo no Kai, Vol.1, #1, #2; Vol.2, #7, #8 & #11. Pictorial (photographic) wrappers. 30.2 x 22.5 cm. Very unusual and iinteresting propaganda magazine on Soviet life, full of photos of Soviet workers, athletes, crowd scenes, children, etc., etc. - all quite manifestly happy. Comrade Stalin smoking his pipe is a visual motif. Very sophisticated layout and typography, as is the use of photography, as well. Murayama created the covers of the first two issues and his influence is obvious visually throughout, but, since he was arrested in April 1932, he has no direct input into the three other issues we have here. Besdies the magazine itself, there was an association of like- minded "FRIENDS OF THE SOVIETS" [SOBIEETO NO TOMO NO KAI] and we include here the membership card in that association of Katayama Toshihiko (1898-1961), a painter, poet and pedagogue of some renown. In good condition overall, and including some newspaper clippings on the Left during the period, as well.

$3,500.00

 

 

 

 

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39.ONCHI Koshirô, editor. SHOSO VOL.1 123456 VOL.2 7-12 1935. Tokyo, Showa 10 [1935]. Aoi Shobô. #121 of [700cc?]. 8vo. in size, wrappers. The first two volumes, a full year in 12 issues, of SHOSO magazine, the premier journal dedicated to the book arts and graphics of its day, edited by the foremost artist and book designer, Onchi and filled with graphic and textual contributions by contemporary giants. Bound up in publisher's cloth covers, with all images and covers, etc. bound in at the back and front of each. Very scarce. Very good with some cover soiling and edgewear.

SOLD

 

 

 
 

ONCHI, TANAKA & HAGIWARA

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40. ONCHI, Kôshirô & TANAKA Kyôkichi, artists and designers; HAGIWARA Sakutarô, poet. TSUKI NI HOERU. [HOWLING AT THE MOON]. Tôkyô, Kanjôshisha. Taishô 6 [1917]. Bound in paper-covered boards with a thick paper printed dustwrapper, 20.0 x 14.0 mm. The dustwrapper has a design by Tanaka and there are 11 internal plates, as well as three woodblock prints by Onchi. This poetry collection, self-published by Hagiwara (1886-1942) in 500 copies, is regarded as creating a revolution in Japanese poetry. The spirit inspiring the work, according to Hagiwara, was "psychic terror"and, as such, broke all the traditional bonds with traditional poetics. Nothing can be said that would over-emphasize the importance of Onchi and Tanaka to the development of printmaking and book design in an abstract and avant garde idiom in early 20th Century Japan. With their fellow student Fujimori Shizuo at the Tôkyô School of Fine Arts, they created the wonderful art magazine TSUKUHAE in 1914. It ceased production in 1915 when Tanaka died of tuberculosis. His work, along with that of Onchi were combined in this volume. Thus the combination of the two, along with the work of Hagiwara make the first edition of HOWLING AT THE MOON one of the most important treasures of the early avant garde in Japan.

 
The copy in hand suffers from some cracking along the hinges, edgewear and a few nicks. The dustwrapper is fragile and split along the edges and internally strengthened with tape. I have examined images from three copies in collections besides this one and they all seem to suffer from the same weaknesses. Simply a very fragile book, privately printed in small numbers and very difficult to find.
 

$16,000

 

 

 

 

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41.[ONCHI KÔSHIRÔ - BINDING] HIRANO Imao, author. SEIKI NO KAGAKUSHATACHI. 12mo., bound in decorated boards with a matching dustwrapper, both designed by Onchi. This middle school introduction to the history of science through the centuries is written in a simple style on a biographical basis by Hirano (1900- 86), a noted pedagogue. In near fine condition overall with a bit of browning and dustwrapper chipping, a former owner has written his name on the back cover so carefully as to make it seem printed. The Onchi design is perfect - colorful, near abstract.

$185.00

 

 

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42.[Peking Jung Pao Chai, Publishers] Ch'i P'ai-shih etal. PEKING JUNG PAO CHAI HSIN CHI SHIH CHIEN P'U. Peking, 1955. Folio, 2 vols bound chinese-style in purple wraps, enclosed in a brocade folding box with ivory clasps. In fine condition. This collection of wood-block reproductions of paintings was published by the famous Peking art publishers in honor of the 91st year of the painter Ch'i P'ai-shih, which was celebrated in 1951. There are a total of 80 multicolor prints, of which 32 are after designs by Ch'i P'ai-shih, himself. Magnificently done, they represent the height of the printer's craft in 20th century China. Complete.

$3,850.00

 

 

 

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43.[PREWAR ADVERTISING] AIBARA Tamotsu(?) for Shôtenkaisha, editors. GOFUKUTEN HANJÔSAKU. Tôkyô, Shôwa 7 [1932], Seibundô. Small folio, bound Western-style in paper-covered printed boards. 50 plates illustrating advertising ideas for the clothing trade, printed in b+w and color. Heavy Deco influence. A re-working of the important "KÔKOKU ZUANSHÛ" design series in 12 volumes originally issued by Seibundô in 1930. Very good condition, in the publisher's slipcase.

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44.[PREWAR ADVERTISING] NIPPON DENPO TSUSHIN-SHA, editors. Shinbun Kôkoku MEISAKU-SHU. Tôkyô, Shôwa 14 [1939]. Large 8vo., bound in red and dark green cloth, gilt. 26.6 x 18.5 cm. Cover mottling, else good. Interesting selection of contemporary "masterpieces" of Japanese newspaper advertisement. Very unusual.

SOLD

 

 

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45.[PREWAR ADVERTISING] TOTOKI [Nobutomi?]. SHOGYO BIJUTSUTEN POSUTAA SHUSEI. Osaka: Shôgyô Bijutsu Shuppansha, Shôwa 9 [1934]. Large clothbound 8vo.. 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 covers are a bit edgeworn, but overall in good or better condition. Unusual.

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THE FIRST AND  PERHAPS THE MOST IMPORTANT VOICE OF

"MODERN" ARCHITECTURE IN JAPAN

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46.[PREWAR ARCHITECTURE] Bunriha Kenchiku-kai. BUNRIHA KENCHIKU-KAI SENGEN TO SAKUHIN, Tokyo, Iwanami Shoten, Taishô 13 [1920]. 26 x 18.8 cm. Illustrated wrappers. Produced by the Bunriha Kenchiku- kai, the first and perhaps the most important voice of "modern" architecture in Japan. Organized by a group of Tokyo Imperial University graduates in 1920. [See this link for an interesting essay on the Bunriha: http://www.bigakukai.jp/aesthetics_online/aesthetics_13/text/text 13_amanai.pdf] The volume in hand is their first catalogue. The members soon secured an important foothold in the public imagination of the new intelligentsia, sponsoring department store shows of designs, and publishing collections of their drawings, preliminary models, etc. This catalogue contains many photo illustrations, drawings, etc. as well as a series of essays by the members of the group and their short "manifesto": all of which provide the foundation for a specifically Japanese "modern" style of architecture and attempt to heal the breach between a devotion to beauty on one hand and to utility on the other. It would be hard to exaggerate how important this work is and how rare. There are copies of their second and third catalogues in the National Diet Library in Japan but we could locate no copy of this, their first catalogue in any library, though it was reprinted in 2009. This ephemeral work has one corner of the front cover "skinned" else it is in very good condition overall.

SOLD

 

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47.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. SHINKO NIHON NO JUTAKU. Tôkyô, Kôyôsha, Shôwa 9 [1934] 1st printing. Spiral bound, 19.2 x 15.9 cm, 50 plates of "MODERN JAPANESE DOMESTIC ARCHITECTURE". Mostly interior details in an internationalist- influenced style. Very good condition, complete in the original slipcase. Quite unusual.

$245.00

 

 

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48.[PREWAR ARCHITECTURE] Kôyôsha. Kenchiku Shashin Ruishû KINDAI SÔSHOKU ISHÔ ZUAN Tôkyô, Taishô 12 [1923]. An interesting small, 19.1 x 13.3 cm, portfolio from the Illustrated Architecture series, this one on design motives and decorative elements with a heavy Deco influence. The ties of the little portfolio are missing, else about good.

$145.00

 

 

 

 

 

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49.[UKIYOZÔSHI] Ejima Kiseki, author. Shinpan E-iri SEKEN MUSUKO KATAGI. Kyôto, Preface dated Shôtoku 5 [1715], 24.9 x 17.6 cm., stirng-bound, Japanese-style, fukuro-toji. Ejimaya. With a notice of the impending publication of the sequel SEKEN MUSUME KATAGI, so a very early printing, indeed, a fact born out by its printing quality. The SEKEN MUSUKO KATAGI (Tales of Worldly Youth) began a new genre of seriocomic fiction invented by Kiseki, generally considered the literary heir of Ihara Saikaku. As the 18th century wore on the classes and catagories of townfolk whose worldly attitudes were skewered expanded to include everyone from parents to priests. The genre concluded some 70 years later when the heights of absurdity were reached with SEKEN BAKEMONO KATAGI (Tales of Worldly Ghosts) and katagi-mono finally passed on. A very scarce and very important work. The illustrations are apt, skillfully done in a clever ukiyo-e style, depicting the typical townfolk of early 18th century Japan. Nishikawa Sukenobu illustrated most of Kiseki's work and his popularity guaranteed he was much copied by other artists. It is not clear as to whether he illustrated this classic as he is not credited for it but the work resembles early Sukenobu strongly. Overall this copy is in good impression and very good condition, with the original covers and title labels. Complete in a clasped chitsu case.

$6,500.00

 

 

 

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50.[COVER ART] SHÔCHIKU KINEMA. Shôchiku Eiga Shudaika JITTO MITSUMETA SONO HITOMI. Tôkyô, Shôwa 6 [1931]. 26.4 x 18.7 cm. 4pp pamphlet, the striking cover printed in color with a Modernistic image of a feminine face on the cover. "HER STEADY GAZE" is meant for the beholder as well as representing the title of the song, a movie theme song from the movie studio SHOCHIKU. The song was recorded and made famous by Aoki Haruko (1901-68). About fine condition overall.

SOLD

 

 

 

 

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51.[COVER ART] KOGA Masao, songwriter. Hakubi Chôtokusen Gakufu #109 SAKE HA NAMIDA KA TAME-IKI KA. Tôkyô, Shôwa 6 [1931]. 26.6 x 19.6 cm. 4pp pamphlet, the striking cover printed in color with a Modernistic image of a despondent male figure, complete with shaker and martini glass, all quite mobo. [modern boy]. Unpacking the images and text is quite interesting, as the song is part of a series called the "Hakubi" [white eyebrows] series, such prematurely grey hairs being the sign in East Asia of precocious wisdom. Perhaps a sly wink at those who did not approve of bars and martinis and manly tears. Fine condition overall.

$145.00

 

 

 

 

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52.[WALLPAPER - JAPAN]. KABEGAMI MIHON. n.p., n.d. [Japan??, late 19th century??]. Large, 30.0 x 45.2 cm., oblong tassel-bound portfolio of wallpaper samples. The cover title in gilt reads (in Japanese) "Wallpaper Samples". There are 30 sheets in varying sizes, each with a yen price on the reverse on a label that also includes standard size descriptions. So, either a sample book of European styles being sold in Japan, or, more likely, a sample book from a Japanese manufacturer of Japanese wallpapers to be exported to Europe and the Americas. Very deluxe, very thick, in that leather-like embossed paper traditionally called "karakami" in Japan. It should be noted that the important English wallpaper manufacturer Rottman, Strome and Company had established a connection with a Japanese manufacturer in 1883 to produce such papers for international export. The sample book at hand has broken tassels as well as wear and chipping to the covers. The samples themselves are very clean. A Victorian marriage of traditional European design and traditional Japanese craft. Very unusual.

SOLD