WELCOME TO CATALOGUE 53A
JAPAN AND ASIA

 

JAPANESE DESIGN

 

 

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Section One:
 
Edo Era  Woodblock Design Books For  Kimono.

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1.[DESIGN - HIINAGATABON] Ebishiya Chûshichi, artist. HINAGATA MIYAKO NO HARU Chû. [Kyôto & Osaka, Kikuya Kihei, Nodaya Riemon, Kashiwabaraya Seiemon, Enkyô 4 {1747}] 26.5 x 18.4 cm. 34 full page b+w printed kimono designs. The KSSM locates no copies in Japan, but references two bibliographies. There is a copy in the Diet Library of a book with the same title, but it would appear to be a later edition, or a different book, published c.1800. There is a copy at the Victoria and Albert Museum. Original? covers, no title label. Soiling, stains, some worming. Good impressions. Volume two, only, of three published.

$950.00

 

 

 

 

 

 

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3.[DESIGN - HIINAGATABON] NAKAJIMA Tanjirô, [Matsune Kôtô?] et al. HINAGATA GIONBAYASHI Jô. N.P., N.D. [Kyôto, Toyama Ihei, Shôtoku 4 {1714}] Ohon, 25.9 x 17.7cm. There are 42 full page Rimpa- influenced designs in this volume one of a three volume series. A copy was shown at the TREASURES BY RIMPA MASTERS exhibition shown at the Heiseikan in Tôkyô in 2008 for the 350 year anniversary of Ogata Kôrin's birth. KSSM (6, 720-3). Some staining, page wrinkling etc. A fair copy only of a fair to good impression of this rare example of a scarce genre. The KSSM only locates 2 complete sets and one odd single volume like this one. We could locate none outside Japan.

$950.00

 

 

 

 

 

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4.[DESIGN - HIINAGATABON] Nonomura Chûbei, artist. HINAGATA OTOWA NO TAKI Chû. [Kyôto, Genbun 2 [1737] 26.7 x 18.2 cm. 38 full page b+w printed kimono designs. There is a copy in the National Diet Library, that copy was shown at the TREASURES BY RIMPA MASTERS exhibition shownat the Heiseikan in Tôkyô in 2008 for the 350 year anniversary of Ogata Kôrin's birth. There is another incomplete copy in Japan, as well as a copy at the MFA in Boston. Original covers and remains of a title label. Fairly clean, a bit of worming. Good impressions. Volume two, only, of three published.

$950.00

 

 

 

 

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5.[DESIGN - HIINAGATABON]. Omiya Muneshichi, artist. HINAGATA MIYAKO NO FUJI Chû. Kyôto? Hôreki 10 [1760]. 26.2 x 18.2 cm. 32 full page b+w printed kimono designs. There is one copy in the KSSM, in the National Diet Library. There are apparently none recorded outside Japan. Original covers, no title label. Soiling, wear, paper wrinkling. Good impressions. Volume two, only, of three published.

$850.00

 

 

 

 

 

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6.[DESIGN BOOK] Honma Hyakuri & Yokokawa Shigetaka. FUKUSHOKU ZUKAI. 2 vols., originally privately published by Hyakuri, in Bunka 13 [1816]. This copy has that date in its afterword. 19.4 x 26.8 cm, string-bound Japanese-style fukuro toji with printed paper title labels. Clothing designs, swords and regalia, etc. reproduced in color woodcut. Nobleman, Ladies, Ceremonial dress, Brocades, Imperial costumes, all are covered. Important work. The overall condition is good, with some worming throughout. The impressions and colors are a bit "late" (mid-19th century?). Enclosed in a custom clasped chitsu case.

SOLD

 

 

 

 

 

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7.[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

 

Section Two
 
The Design World of Kyoto - Woodblock Design Albums from the Late 19th and 20th  Centuries

 

 

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8.[BOOK DESIGN] TSUDA SEIFU, designer. SOTEI ZUAN-SHU Dai-Ishû. A COLLECTION OF ARTISTIC BOOKBINDINGS Executed by SEIFU TSUDA. Kyoto, Unsodo, 1929. Oblong folio, decorated cloth, 31.6 X 41.6 cm. Signed by Seifû. Contains examples of the actual woodblock-printed covers of this important book designer's significant bindings. Very scarce item, Seifu was not only a designer, he was also a very important western-style oil painter, as well. In his early years at the turn of the 20th Century, an intimate of the circle around the eminent author, Natsume Soseki, by the end of his life, Seifû was the grand old man of the post-war Japanese art world. This scarce volume is in fine condition, in the original cloth-covered clasped case. This copy is distinguished by the fact that Seifû has written a lengthy Chinese inscription (with some kanbun diacriticals) on the front innner board and front free endpaper. Sealed by him in Shôwa 48 [1973] when he would have been 83 years old. It would appear that an admirer presented him with this lovely old volume for his calligraphy and he obliged.

$3,250.00

 

 

 

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9.[COSTUME DESIGNS - NOH THEATER] NOH-KA GABI. Tokyo & Kyoto: Unsôdô, n.d. [Shôwa 9, 1934]. Large brocade covered wooden box of 102 (of 100 - there are 2 extra plates not called for in the contents pages) plates of Noh costumes, patterns, masks, etc. An impressive mixture of printing techniques - color woodcut, offset, color collotype and various hybrids thereof. Sheet size: 29 x 37 cm. One of the wonderful folios for which Unsôdô was famous between the wars. Very good, complete, very unusual, text in Japanese.

$2,850.00

 

 

 

 

 

 

 

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10.[DESIGN] Arashiya Shûsei, designer. SHUSEI MEIGA-CHO Kanô-ha. Kyoto, Unsôdô, Shôwa 11 [1936] Large oblong orihon, 33 x 43.2 cm, color-printed silk over board covers, printed silk title label. 10 large and lavishly printed color woodblock prints of designs inspired by various Kanô style paintings are faced by text describing the original works from which they were derived. A very unusual work, produced by Unsôdô to their high pre-War standards.

SOLD

 

 

 

 

 

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11.[DESIGN]. BIJUTSU ZUAN GAHO. Vol. 1 [of at least 4]. Kyoto: Unkindô, Meiji 35 [1902]. 24 x 17.6 cm. Tassel-bound, fukuro toji, printed paper covers. 18 pages of well-printed designs from textiles, pottery, etc., etc. Issued as a periodical by Unkindô, it appears that at least four issues were distributed. A bit of edgewear, else very good throughout.

$450.00

 

 

 

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12.[DESIGN BOOKS] Yamashita KORIN. HANAGATA. 4 vols. Kyoto, Honda Ichijiro, et al. Meiji 32-3, [1899-1900] 25.5 x 36.7 cm. String- bound Japanese-style fukuro-toji. The four seasons are represented in 155 full page oban size prints of kimono designs. The set is internally in fine condition, lovely printings. The covers of the spring and summer volumes have some oxidation, but otherwise a truly lovely set. Honda Ichijiro is the printer/publisher who went on to start the important house, Unkindô, and join Unsôdô thereafter. It appears that Louise Brown saw a single volume of this set in Japan [Brown, page 203]. Though individual incomplete volumes of this set occasionally appear, a full set, complete, like this one is virtually unheard of. In the original publisher's chitsu clasped case.

$7,250.00

 

 

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13.[DESIGN] FOUR LARGE MANUSCRIPT AND STENCIL ALBUMS OF DESIGN. ZUAN-CHO. 26.5 X 37.8 cm. n.p., n.d. [c. Late Meiji - early Shôwa era; 1895-1935] This is a working collection of designs, bound into double-sided orihon folding albums in cloth covered board covers, two of which have the remains of hand-brushed titles - "Zuan-chô", one being "nanashû", that is, volume 7. So we know that this is only part of a larger reference library of designs, probably from a textile house, probably from Kyôto. The designs span at least a few decades of stylistic evolution. All told, there are some 888 hand-drawn and/or hand-stenciled patterns mounted on some 413 pages. The designs are individually labeled and numbered in the margins. An astonishingly rich and beautiful compendium of original design art, it is a remarkable resource. Some covers are detached, and a couple of bookblocks are split. The designs are skillfully done, though some show a bit of wear and some occasional soiling, and are in quite good condition overall.

$8,500.00

 

 

 

 

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14.[DESIGN] FUJII Tatsukichi, designer. SOSAKU SENSHOKU ZUANSHU. [A Collection of Designs for Dyework] Tokyo & Osaka: Bungadô, Shôwa 8 [1933]. Large portfolio, 41 x 31 cm., decorative cloth covered clasped chitsu case with a printed decorative label, all enclosed in the publisher's folding cardboard outer box. A 4 page fascicle of preliminaries and a table of contents. With the chitsu design, the cover design, 3 preliminary page designs and 61 designs on the 50 content fascicles. The designs are primarily in color woodcut, printed on both paper and, occasionally, cloth. A beautiful production, fine overall, though the outer box is worn.. Fujii Tatsukichi (1881-1964) was one of the most important reformers of the traditional arts in Japan. His creativity touched nearly every area: lacquer, pottery, papermaking, dyeing - his influence was enormous. This scarce and lovely portfolio of his original designs helps to illustrate why he was so important. This deluxe production cost 25 yen in 1933 - a princely sum during the depths of the Depression in Japan. Complete.

$3,850.00

 

 

 

 

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16.[DESIGN] Furuya Kôrin, designer. UNKA SHU. Kyoto: Yamada Unsôdô, Meiji 35 [1902]. 2 vols. [Jô,Ge]. Each volume, 24.2 x 16.4 cm, string-bound Japanese style, fukuro-toji. Design-printed paper covers. Kôrin was a neo-Rimpa designer of considerable importance who did a lot of work for Unsôdô. Each of the two volumes of cloud designs includes ten pages of color printed abstract cloud images and 30 pages of black & white woodcuts. Good impressions throughout, the volumes are internally in very good condition, though the covers are soiled. The set:

SOLD

 

 

16a.[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.

$6,500.00

 

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17.[DESIGN] FURUYA KORIN. MATSU ZUKUSHI Ichi. Kyoto: Unsôdô, Meiji 38 [1905]. Oblong album, 18.3 x 24.9 cm, one page introduction and final colophon page, along with 50 designs on twenty-five pages of color woodcut designs on a pine-tree theme by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Well- printed with metallic inks, overprinting, etc.. The "first" and only volume, no others published. A good copy of this fragile work, with slight internal toning, an ownership label on the front cover and a few seals within.

SOLD

 

 

 

 

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22.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #4. Kyoto: Unkindo, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 4 from an unknown number of such single sheet designs. Very unusual, unknown in the literature.

SOLD

 

 

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23.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #5. Kyoto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 5 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.

SOLD

 

 

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24.[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 wrapper's 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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25.[DESIGN] Hishita Matabei. YUSHIKIFU MONYO, 3 vols. Kyoto, Uchida Bijutsu Shôwa 10 [1935]. Orihon, folding album, printed paper over boards, printed paper title labels. 31.4 x 22.2 cm., Delicate color woodblock printed designs throughout. Paper a bit browned, else very good in the original publisher's clasped chitsu case (w/o clasps). Complete.

$1,750.00

 

 

 

 

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26. [DESIGN] ISONO, U. IZUTSU Yuki no Maki. Kyoto, Isono Shikkaiten, Meiji 42 [1909]. Very large ribbon-bound fukuro-toji binding in printed paper covers. 45 x 32.3 cm. 30 full page polychrome woodcuts depicting kimono patterns, printed and over-printed for a sumptuous surface. Isono was a textile firm of the day, here employing some of the best techniques available to display their wares. This is the "snow" volume of a three volume set. Very scarce, the largest size prints of the "hinagata-bon" genre we have seen. Well-printed and internally quite clean, the covers are worn.

$2,250.00

 

 

 

 

 

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27.[DESIGN] ISOZAKI Kôsaburo. KINKAN'EN SHINISHO YOHON NEW SAMPLES OF COLORED MATTING - "KIN KAN EN." Okayama, Meiji 37 [1904]. Cord bound Japanese style, title printed on front cover. 34.2 X 22.6 CM. 34 full-page color woodcuts of flat-weave matting designs. The matting is still made today in Okayama from the igusa plant. Very simple and delicate designs. A sample book for the Isozaki line.

$395.00

 

 

 

 

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28.[DESIGN] Kaigai TENNEN. TENNEN HYAKU TSURU. Part 2 (of 3). Kyoto, Unsôdô, 31.7 x 22.1 cm. Meiji 33 [1900]. Tassel bound in printed heavy paper covers. 20 lavish color woodblock images with metallic ink and over-printing of designs on a theme of cranes. Tennen is one of the most important neo-Rimpa designers of the early 20th century and this major work appears nowhere in the literature. The covers are worn, which a cigarette burn on the front cover that holed through the cover, the preliminary page and the first two woodblock prints. Good impressions and colors overall. Sold with all faults.

SOLD

 

 

 

 

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29.([DESIGN] Kamisaka SEKKA, artist. CHIGUSA, Vol.1. Kyoto, Unsôdô, Meiji 32 [1899]. 35.5 X 23.6 cm. 1 volume. Bound orihon-style, back to back. This exquisite suite of 30 single page color printed woodblocks precedes Sekka's MOMOYOGUSA by a decade. As in MOMOYOGUSA, many of the prints are printed and overprinted using opaque and metallic inks to produce a sumptuous surface. 6 of the interleaved tissue sheets are the original poem-printed ones, which are seldom found. The full suite of 54 plates was completed and published as a three volume set in 1903. The copy we have is made up of the 10 three print fascicles for volume one that Unsôdô issued on a monthly basis. The condition of the prints is very good, the impressions excellent. It would seem to have been bound up into the volume one covers by Unsôdô, although the original front cover is missing. With the ad page and title from the original parts bound in, but missing the short preface and title page of the later bound version of volume one. With all 30 prints for volume one, complete.

$6,250.00

 

 

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30.[DESIGN] Kamisaka SEKKA, artist. MOMOYOGUSA. Kyoto, Unsôdô, Meiji 42-43 [1909-10]. 30.1 X 22.5 cm. 3 volumes. Most consider it the finest Japanese design book of all time, this exquisite suite of 60 double page color printed woodblocks is printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is from an early printing, before cracks had widened in the printing blocks. The condition is very good, with only a bit of the gutter fading and metallic ink transfer common to this work. Definitely one of the cleaner copies internally that we have seen. The exteriors have been restored and show the signs of old chipping away of the overlay paper but the original title labels are still present. The paper overlays are very fragile and so they almost always have at least some problems of condition. In a contemporary supplied clasped chitsu box. A beautiful copy of this cornerstone of 20th century design. Complete.

$38,500.00

 

 

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31.[DESIGN] Kamisaka SEKKA, artist. MOMOYOGUSA. Kyoto, Unsôdô, Shôwa 62 [1987]. 30.1 X 22.5 cm. 3 volumes. Doubtless one of the finest design books of all time, this exquisite suite of 60 double page color printed woodblocks is printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is the most recent re-strike from the original blocks, done by the original printer, Unsôdô. The condition is like new. In the publisher's original shipping box, brocade-covered clasped chitsu with printed paper title label and dustwrappers on each volume. Obviously, only a pale reflection of the original work, nonetheless modern Unsôdô's still considerable skills have succeeded in creating a work that has considerable merit in its own right and captures the design genius of Sekka in his original medium of artistic expression, the color woodcut. Three volumes, complete:

$4,500.00

 

 

 

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32.[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.

SOLD

 

 

 

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33.[DESIGN] Kamisaka SEKKA. NIHON JOSO 7 vols. Kyoto, Unsôdô, Meiji 39 [1906]. 26.3 x 18.7 cm. String-bound, Japanese style, fukuro-toji, printed paper title labels. An interesting visual history of women's fashion in traditional Japan. The b+w woodblock prints were supervised by the master himself, Kamisaka Sekka. A good impression, some cover soiling, in very good condition overall. Complete.

$1,150.00

 

 

 

 

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34.[DESIGN] Kamisaka SEKKA. Senshoku Zuan KAIRO (ONE HUNDRED PATTERNS OF WAVES). Kyoto, Unsôdô, Meiji 36 [1903]. 36.4 x 24.7 cm. It appears that the 2 pages of prefatory material of the original edition of 1902 have here been replaced in the orihon folding album version by two more pages of color woodblock designs, making 35 pages of design in all. Woodblock-printed designs after waves, conceived by Sekka when he was on board ship on his way back from Europe. The printed covers are quite worn and a bit "skinned" and the paper internally very slightly browned but overall a good copy of this scarce classic by Sekka.

$3,250.00

 

 

 

 

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35.[DESIGN] Kamisaka SEKKA [Yoshitaka]. SHIKISHI. Kyoto: Tanaka jihei, Meiji 34 [1901]. 2 folios, each 31.2 x 21.5 cm. Volume one has 2 color prints and 30 b+w sumi prints, volume two has 30 b+w sumi prints. An interesting design book of subtlety. The covers are quite worn with a few internal stains, but overall a good printing in good condition. String-bound fukuro-toji Japanese style with the title printed on the covers. Complete.

$985.00

 

 

 

 

 

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36.[DESIGN] Kamisaka Yoshitaka [SEKKA]. Bekkô Kyôzome MIYAKO NO OMOKAGE. Kyôto, Tanaka Jihei [BUNKYUDO], Meiji 23 [1890]. 23.7 x 16.7 cm, string-bound, Japanese-style, fukuro-toji. Design-printed paper covers, printed title label. 54 pages of color-printed designs for kimonos. This appears to be the first separate work containing the designs of Kamisaka Yoshitaka, later to be known as Sekka, published when he was but 24 years old. Sekka was, of course, the greatest representative of the Neo-Rimpa style and its progenitor, and has to be considered one of the greatest designers of the 20th century in Japan and the world. This earliest of his works is extremely scarce. In very good impression and colors, with a bit of sunning to the front cover, a tiny bit of worming to the last pages, overall very good condition.

SOLD

 

 

 

 

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37.[DESIGN] Kawarasaki Kôtô. Monyô HANA NO SHIORI. Kyôto, Uchida Bijutsu, Shôwa 9, 10 [1934,5]. 3 vols., 36.5 x 24.5 cm, orihon folding album in printed paper over board covers, printed paper title labels. Each volume profusely illustrated in lovely, delicately printed color woodblocks, 2 designs per page. Each volume has 25 pages of prints, 75 all together, thus 150 designs. Very good impressions, printed in subtle color. A few tissue guards and a few designs have faint pencil drawings for design modifications, else internally clean and good. The book covers are a bit soiled, stained and rubbed. All are housed in the original, worn, publisher's clasped chitsu case. An appealing copy, complete, and in good condition overall.

$1,950.00

 

 

 

 

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38.[DESIGN] Kondô Ryûkô. SEKAI SARASA 2 vols. Kyoto, Unkindô, 22.3 x 31.3 cm., Meiji 40 [1907]. 2 vols., Tassel-bound in decorated paper covers, fukuro-toji. 27 full page color woodcut plates of cotton chintz designs from around the world. Covers show light wear at edges. Nicely printed, very good condition. Pencil ownership, an ink stamp, and a library pocket on inside front cover of each volume. Appears to be identical in every respect to the set of the same title published 3 years earlier, which credits the important designer Shimomura Tamahiro. Could Ryûkô and Tamahiro be the same person? There must be a story here. In any event a lovely book published by the important Unkindô.

$325.00

 

 

 

 

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39.[DESIGN] KOSHU "SCARLET SLEEVES". Kyoto: Kishi Hanga Insatsu-sho. "Shôwa [no exact date]" c. 1930. 33.0 x 23.5 cm. Folding orihon album in paper-covered boards with printed paper title label. 10 full page color woodblock print designs. The covers are worn, but the prints are very clean and very well printed. A very nice example of the design genre between the wars in Japan.

SOLD

 

 

 
 

 

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40. [DESIGN] KOSUGI Sugimura & YOKOI Tokifuyu, designers. DAI NIHON BIJUTSU ZUFU 8 vols. Tôkyô, Yoshikawa Hanshichi, Meiji 34 [1901]. 4 plate volumes, orihon folding albums illustrated with 154 pages of color woodcut. 25.1 x 18.5 cm and 4 text volumes, string-bound Japanese-style, fukuro-toji. Very unusual complete. A lovely compendium of traditional design. A bit of waterstaining to two of the text volumes, else very good colors, impression and condition.

$1,750.00

 

 

 

 

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41.[DESIGN MAGAZINE] Fukada Zuan Kenkyûsho. GENDAI NO ZUAN; GENDAI NO ZUAN KOGEI; ZUAN TO KOGEI. Tôkyô, Taishô 4 [1915] to Taishô 13 [1924]. 23 issues of this important periodical on design in Japan. The dominant aesthetic is a Japanese version of Art Deco. Each issue has many illustrations, several of which are in color and the covers are classics. There are hundreds of pages of interesting and informative articles on contenporary design by critics and artists alike. By 1922, it dropped the "GENDAI" ["CONTEMPORARY"] from the title and the last 4 issues here are much less oriented to Art Deco and more inclusive of traditional and folk design, as well. Overall there is some browning but the general condition is quite good. The magazines are individually complete. A very scarce periodical, here preserved in a good-sized archive which is, of course, only a partial run.

$3,500.00

 

 

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42.[DESIGN] MANUSCRIPT ALBUM OF KIMONO DESIGNS [N.p., n.d. - Kyoto? c. 1880s] Album of 60 (numbered) full page hand-drawn and colored kimono patterns. The hand calligraphed title (unread) refers to the kimono shop which employed this wonderful sample book as a sales tool. It has been folded in half, but the images are beautifully detailed, the colors calm and lovely, the brushwork superb. The patterns point to the last quarter of the 19th century. As described, good to very good overall (only one or two plates have some slight foxing) and with a centerfold. These kimono manuscripts have become increasingly hard to find, particularly such lovely examples. The numbering is contiguous and appears to be complete.

$2,850.00

 

 

 

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43.[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.

SOLD

 

 

 

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44.[DESIGN] Mizuta Seikô, artist. MIZU NO NAGARE. Kyoto: Honda Unkindô, Meiji 37 [1904]. Oblong folio, ribbon-bound printed wrappers, 25.5 x 36.8 cm. An interesting Neo-Rimpa design book in large format comprised of 11 color woodcuts, well conceived and extremely well printed. The overall condition is very good, as are the impressions. Very unusual work. In a custom clasped chitsu case.

$4,250.00

 

 

 

 

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45.[DESIGN] Nishimura Kichiemon Shôten. ZUAN BUNKO, Dai-ikkan, Dai-ichigo. Kyôto, [Meiji 41 {1908}]. Illustrated western-style wrappers, 25.1 x 18.3 cm. 12 full page plates. Two in color woodblock, six in color reproduction (litho?, collotype?), three in grey scale (collotype?) and one photo reproduction. Along with a bit of text, this volume one, number one of a design periodical ("DESIGN LIBRARY") was put out by the Nishimura textile concern at the corner of Sanjô and Teramachi streets. One of a number of ephemeral productions which inscribed the heyday of design development in early 20th century Kyôto. A bit edgeworn with a bent cover corner but overall in very good condition. Fragile and very unusual.

SOLD

 

 

 

 

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46.[DESIGN] Ogino ISSUI, designer. KAKIMAMI GUSA vol. 3. Kyoto, Unkindô, Meiji 37 [1904] Ribbon-bound oblong Japanese style, 25.4 x 36 cm. Ge volume (volume three of three, only). 25 large full page color woodblock designs by Ogino Issui, one of the most elusive, yet most skillful designers of the early 20th century. This would appear to be the original Unkindô edition, later sold (though maybe not reprinted) by Unsôdô when Unkindô was folded into Unsôdô. It appears in the Taishô era Unsôdô catalogue, but not the later Shôwa era one. The book is largely unheard of in the marketplace. Little is known of Issui and his oeuvre is quite limited, his most famous work being the ZUAN HYAKUDAI in three volumes. This work is perhaps his scarcest and very lovely. In nice condition, impression and color through out with a bit of browning.

$1,750.00

 

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47.[DESIGN] SHIMOMURA GYOKKO [TAMAHIRO]. SHIKISHIMA-GATA Volume 8. Kyoto, Honda Unkindô, Meiji 38 [1905]. 20 x 12.5 cm. Volume 8. Part 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 edgenibbling and cover soiling. Very unusual, even as an individual volume.

SOLD

 

 

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48.[DESIGN] Shimomura Tamahiro, designer. SEKAI SARASA 2 vols. Kyoto, Unkindô, 22.3 x 31.3 cm., Meiji 37 [1904]. 2 vols., Tassel- bound in decorated paper covers, fukuro-toji. 27 full page color woodcut plates of cotton chintz designs from around the world. Nicely printed, very good condition.

$675.00

 

 

 

 

 

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49.[DESIGN] SHIMOMURA Tamahiro. GENJI BURI Ge. Kyoto, Unsôdô, Meiji 39 [1906] Orihon folding album with paper over boards, printed paper title label. 33.2 X 24 cm. 18 beautifully printed double page color woodcuts with metallic inks and overprinting. Lists Honda Ichijiro, Yamada Naosaburo's older brother, as the publisher's representative - perhaps a hybrid work done soon after Honda's Unkindo failed and was absorbed into Yamada's Unsodo. The cover paper is torn, the rear cover paper missing, but the prints are large and lovely designs in good shape. The final volume of a set of either two or three, though it would probably be 3 volumes since there were 54 chapters in the Genji tale.

SOLD

 

 

 

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50.[DESIGN] Shimomura TAMAHIRO. TAMAHIRO GASHU. Kyoto & Tokyo: Unsôdô, Taishô 14 [1925]. Single sheets cord-bound into illustrated boards with a printed paper title label. 36.2 X 25.3 cm. There are 16 pages of color woodblock printed designs and 30 pages of b+w collotypes. One of the hybrid design books that Unsôdô created in the 20s and 30s. Very clean and bright in the original publisher's slipcase. A very unusual and late effort by Tamahiro [1878-1926], an important Unsôdô designer who began his work for them at the turn of the century. Even more unusual in such lovely original condition. Complete.

$1,500.00

 

 

 

 

 

 

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51.[DESIGN] Sugimura Chôsan. KIGEN KEISHUKU-CHO. Kyoto, Happôdô, n.d. [c. 1940]. Large square folio [34 x 30 cm], orihon style, ribbon bound in brocade covers with printed silk title label. Brilliant color woodcut designs, 24 double page images in all. Complete.

SOLD

 

 

 

 

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52.[DESIGN] Taniguchi KOKYO, artist. KODAI MOYO Ichi, Ni. Kyôto, "saihan" Taishô 7 [1918]. 36.3 x 25.0 cm., woodblock-printed covers, tassel-bound, fukuro-toji. Kôkyô (1864-1915) was born into a cloth merchant family, adopted into the Taniguchi family and became a student of Kôno Bairei. Important in Kyôto art circles, here he serves as an Unsôdô designer. There are 25 pages of color woodblock prints of designs based on traditional motifs in each of the two volumes, plus an additional 11 pages of fan designs in volume two, so 61 pages of designs in all. There is a bit of interest bibliographically regarding this book.... If one looks at the Unsôdô English language catalog of 1915, this book is listed as having 10 volumes. Yet, the colophon of this copy of ours clearly states that the set is complete in two volumes, as here. Now, the first printing was done in 1911. One might hypothesize that the original edition of 1911 consisted of two volumes, that plans were made to expand it to 10 volumes, but by the time the "saihan" reprint was done in 1918, those plans had been dropped. In any event a good impression with good colors, very good condition overall. Some striking images are included in the mix.

$2,400.00

 

 

 

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53.[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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54.[DESIGN] TSUDA Seifû, artist. KAMONFU 2 vols. Kyoto, Honda Ichijirô, Meiji 33 [1900]. 25.2 X 17.9 cm. Tassel-bound, Japanese style, printed paper covers. Tsuda Seifû was a painter, illustrator and designer of incredible flexibility, one of the most influential masters of the 20th century, and Honda Ichijirô a leading publisher of his day. These 80 full-page color woodcut designs are extremely well-printed with heavy opaque colors and metallic inks. An important example of the design genre, this is a complete copy of a scarce work that shows just a bit of edgewear, two plates that are trimmed at the bottom margin (not affecting the images), and a few toned leaves, else in very good or better condition. For more on this work, see pp. 20 & 21 of the recent catalogue ZUANCHO IN KYOTO [Trujillo & Mitsui, Stanford University Libraries, 2008].

$2,500.00

 

 

 

 

 

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55.[DESIGN] Tsuda SEIFU. ZUANSHU 5 vols. Kyoto: Honda Ichijiro, Meiji 33-4 [1900-1]. 5 [of 8] volumes: We offer volume nos. 1, 4, 5, 6, & 7. Tassel-bound printed paper covers. 25 x 17.7 cm. A series of designs by the young Tsuda Seifu [1880-1978], who became one of the foremost Japanese artists of the 20th century. Each volume has 10 lavishly printed and overprinted designs in color and metallic inks, for a total of 50 images. Superb early impressions of remarkable rarity. About fine save for some slight edgewear.

$3,500.00

 

 

 

 

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56.[DESIGN] Tsuda SEIFU. ZUANSHU Roku. Kyoto: Honda Ichijiro, Meiji 34 [1901]. Volume 6 of a total of 8 printed. Tassel-bound printed paper covers. 25 x 17.7 cm. A series of designs by the young Tsuda Seifu [1880-1978], who became one of the foremost Japanese artists of the 20th century. 10 lavishly printed and overprinted designs in color and metallic inks. Any volume is a remarkable rarity. Superb designs by the young Seifû. Fine save for some slight edgewear.

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57.[DESIGN] TSUJI Shôkyô, editor. SENSHOKU TAIKAN Some no Bu 1-3. Kyoto, Taisho 3 [1914]. 9 7/8" X 7 1/8". "Encyclopedia of Dyeing and Weaving, Dyeing Section" 3 volumes. Illustrated designs in color wooblock prints, by the premium art publisher of the 20th century in Japan. A beautiful set in very good impression and colors, The covers are rubbed, else good condition.

$1,600.00

 

 

 

 

 

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58.[DESIGN] Ueno Kenkyûkai, editors. Seishu-en GOSHOGURUMA. Kyoto, Unsôdô, Shôwa 9 [1934]. Oblong orihon folding album, 27.2 x 39.1 cm., printed paper over board covers. 12 full page designs, printed and overprinted in colors and metallic inks, embossing, etc. - all the techniques of which Unsôdô was master, here based on the theme of ancient noble carts from the classical period. Fan-shaped designs, each identified as to its designer. About fine inside and out.

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59.[DESIGN] UENO Kiyoe, designer. HANA NO KAKE. Meiji 33 [1900]. Kyoto, Honda Ichijiro. String-bound Japanese style, fukuro-toji, 17.5 x 24.4 cm, 30 full page color plates after designs by Ueno, one of the most important Yuzen dyers of his day. Published by Honda Ichijiro, later the founder of Unkindô. The covers and the interior are clean and the printings and colors are excellent (with metallic inks, blind-stamping, etc.). The fourth volume of this series. (See Cheryl Boettcher, THE KIMONO IMAGINED, University of Illinois, Champaign-Urbana).

$485.00

 

 

 

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60.[DESIGN] UENO Seikô, designer. YACHIGUSA Maki no Kyû. Kyoto, Honda Unkindô. Meiji 35 [1902]. 25 x 17.8 cm., string-bound Japanese-style, fukuro-toji, printed paper title label, printed covers. Part 9 of the 15 volume series of kimono designs by Seikô, published by the important design house, Unkindô. For more on these volumes, see the recent catalogue of the design book exhibition, done at Stanford, ZUANCHO IN KYOTO [pp. 26 & 34]. With 30 beautifully printed color woodblock prints. Good condition, fine impressions and colors.

$675.00

 

 

 

 

 

 

 

 

 

 

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62.[DESIGN] Yamashita KORIN. HANAGATA Aki. Kyoto, Honda Ichijiro, et al. 25.5 x 36.7 cm. c. 1900. String-bound Japanese-style fukuro-toji. The autumn is represented in 35 (of 40) full page oban size prints of kimono designs. The volume is in very good condition, lovely printings. Honda Ichijiro is the printer/publisher who went on to start the important house, Unkindô, and join Unsôdô thereafter. It appears that Louise Brown saw a single volume of this set in Japan [Brown, page 203]. When complete, the four volume set covers all four seasons. Even incomplete, as here, it is a lovely production.

$985.00

 

 

 

 

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63.[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 ZUANCHÔ IN KYOTO. With beautifully printed color woodblock prints. Very good condition, fine impressions and colors.

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64.[FABRIC SAMPLES]. LARGE ALBUM OF 72 FABRIC SAMPLES n.p., n.d., [Kyoto?, 1950s 60s?] Large oblong albums, 36.2 x 30.4 cm, folding album in fabric covered boards from the post-war era. Sample book of lovely and inventive designs in many different fabric varieties Much use of metallic thread, etc. The fabric swatches are in fine condition, as is, save for a bit of corner-rubbing to the album itself.

$985.00

 

 

 

 

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65.[FAN ALBUM]. MEIJI ERA WOODCUT FAN ALBUM FROM KYOTO. 24.0 x 13.2 cm, bound orihon-style, folding album. Fan albums are an interesting genre. Created as marketing tools for deluxe fan makers, they are a compilation of a season's available designs, commissioned from some of the most eminent artists of the day. Once the season was over, the sample books were sold - a very limited production. They have largely disappeared from the market, almost before anyone noticed how interesting they really are. This particular example has 26 double page designs in an uchiwa "paddle-shaped" fan format. Probably created in the late 1880s or early 1890s. Lavishly printed on deluxe paper, generally good condition, one or two of the prints are damaged, a few others are a bit foxed and browned. The covers are quite rough. 26 does not seem to be a complete number so maybe some examples are missing. Overall a "noble fragment" of a wonderful genre and priced accordingly.

SOLD

 

 

 

 

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66.[FAN ALBUM]. MEIJI ERA WOODCUT FAN PRINTS FROM KYOTO. Albums of fan prints are an interesting genre. Created as marketing tools for deluxe fan makers, they are a compilation of a season's available designs, commissioned from some of the most eminent artists of the day. Once the season was over, the samples were sold - a very limited production. They have largely disappeared from the market, almost before anyone noticed how interesting they really are. This particular example has 58 prints in all - some signed, plus a number of unsigned and quite striking Neo-Rimpa designs, as well. One or two are dated to the late 1890s. Lovely printings and colors, generally good edgeworn condition, some of the prints are damaged, a few others are a bit foxed and browned. Sewn up at some point from loose prints.

SOLD

 

 

 

 

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67.[FAN ALBUM]. MEIJI ERA WOODCUT FAN PRINTS FROM KYOTO. Albums of fan prints are an interesting genre. Created as marketing tools for deluxe fan makers, they are a compilation of a season's available designs, commissioned from some of the most eminent artists of the day. Once the season was over, the samples were sold - a very limited production. They have largely disappeared from the market, almost before anyone noticed how interesting they really are. This particular example has 58 prints in all - some signed, plus a number of unsigned and quite striking Neo-Rimpa designs, as well. One or two are dated to the late 1890s. Lovely printings and colors, generally good edgeworn condition, some of the prints are damaged, a few others are a bit foxed and browned. Sewn up at some point from loose prints.

$650.00

 

 

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68.[FLAGS] Suharaya Môhei, publisher. KISHÔ ZUFU. Tôkyô, n.d. [c. 1870]. 22.1 x 14.6 cm., Printed paper covers, tassel-bound, Japanese-style, fukuro-toji. 11 sheets of color woodblock printed prints of Japanese government flags for the new Imperial era of Meiji, with explanatory text. A so-called "kanpon" or government publication, one of several "outsourced" to private printing houses during the earliest days of the new regime. Fine, impressions, colors, condition, in clasped chitsu case. Very unusual.

$650.00

 

 

 

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69.[NOH DRAMA] TANIGUCHI, etc., editors. NÔGAKU SHOZOKU MONYÔ TAIKAN 3 vols.. Kyoto, Unsôdô. Meiji 44 [1911] 3 vols., decorated cloth over board bindings, tassle-bound. Introductory calligraphy by Tomioka Tessai. Folio in size - a remarkable epitome of Noh costume designs from the earliest era of Noh plays to contemporary Meiji era productions. Many monochrome collotype plates, along with large and beautiful color lithograph (22) and color woodcut (24) plates, as well. All indentified as to era and style. Overall condition is very good, with Brooklyn Public Library bookplates and deaccession stamp, otherwise unmarked. 3 vols.

$1,600.00

 

 

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70.[PAPERMAKING - Design]. Anso Hisao, editor. KYO KARAKAMI. Tôkyô, Bijutsu Shuppan-sha, Shôwa 41, 42. [1966-7]. Limited edition: this copy is number 82 of 120 printed. Two large portfolio cases, each with text and samples enclosed. There are 100 of 102 sample sheets on Kurotani paper, each 39 x 51 cm, each hand-printed from woodblocks in the possession of the firm Karacho. Sheet #'s 18 and 42 from the first portfolio are missing. The original blocks span the years from late 18th century to the 1920s. The papers printed represent a selection of the best designs. Gofun, lacquer, mica, gold - no expense was spared in the printing of this design retrospective by the master Sanda Chôjiro. Kyo Karakami was employed to decorate traditional buildings via its use in fusama doors, walls, ceilings, etc. Another great craft of traditional Japan here meticulously recapitulated before the end. Internally fine, the paper is perfect. The cases are a bit worn but solid. Priced to reflect the missing two sheets.

SOLD

 

 

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71.[TEXTILE SAMPLES]. SHIMA SHIMA. 29.8 X 24.5 cm, tassel-bounde cloth over board covers with a printed title label on the cloth. There are 8 pages of fabric samples, mounted 5 per page, hence 40 samples in all. Men's kimono fabric with striped patterns, somber and dark. Mid-20th Century? Good condition throughout.

$95.00

 

 

 

Section Three:
 
Commercial Art in Japan - DECO, Modernism and the World of Advertising in Late Taishô and early Shôwa era Japan.
 
 
 

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72.[ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 8. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$315.00

 

 

 

 

 

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73.[ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 1. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$295.00

 

 

 

 

 

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74.[ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 6. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge opf photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$285.00

 

 

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75.[ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 9. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 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, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. Reduced price because the lower left corner of the cover and first 5-10 pages are damaged.

$140.00

 

 

 

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76.[ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 9. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared.

$275.00

 

 

 

 

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77. [ADVERTISING ART - JAPAN]. KOKOKKAI. ADVERTISING ART MONTHLY. Volume 17, number 5. Tokyo, Seibundô, Shôwa 14 [1940]. Decorated wrappers. 26.3 x 19 cm. 88 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall, with just a bit of corner loss to the front cover and a few initial pages.

$350.00

 

 

 

 

 

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78.[ADVERTISING ART - JAPAN]. KOKOKKAI. COMMERCIAL ART ADVERTISING. Volume 13, number 10. Tokyo, Seibundô, Shôwa 9 [1936]. Decorated wrappers. 26.3 x 19 cm. 88 pp. The special Olympics issue (Tokyo had been granted the games for 1940 - a games which were never held, of course.) 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, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. Though the covers are a bit loose.

SOLD

 

 

 

 

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79.[ADVERTISING ART - JAPAN]. KOKOKKAI. THE PUBLICITY WORLD. Jitsuyô Kôkoku-shû. Volume 5, number 5. Tokyo, Shôtenkai-sha, Shôwa 2 [1927]. Decorated paper wrappers. 26.0 x 19.2 cm. 80 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, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the cover, the text is entirely in Japanese. A special issue on "practical advertising". Ephemeral issues from early Shôwa have largely disappeared, especially with the foldout plates included in them. Good condition overall, but with a corner missing from the front cover and priced accordingly. Complete.

$215.00

 

 

 

 

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80.[ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING COMMERCIAL ART. Volume 12, number 8. Tokyo, Seibundô, Shôwa 9 [1935]. Decorated wrappers. 26.3 x 19 cm. 88 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, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$325.00

 

 

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81.[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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82.[ADVERTISING] SUZUKI Nagai, editor. Shirôto ni mo Kantan ni mo dekiru KAKUSHU KANBAN SOSHOKU NO TSUKURIKATA PRACTICAL METHODS OF BUILDING UP VARIOUS SIGNS AND DISPLAYS. Tokyo: Seibundô Shinkôsha, Shôwa 13 [1938]. Oblong printed wrappers. 18.8 x 26 pp. 32pp+. Sign design for the amateur. Good condition.

$125.00

 

 

 

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83.[COMMERCIAL ART]. GENDAI SHOGYO BIJUTSU ZENSHU THE COMPLETE COMMERCIAL ARTIST 24v. Tokyo, ARS, Shôwa 3 [1928] 24 large slender 8vo. vols., this edition bound in decorated wrappers, the set is a bit rough externally, volume 13 is missing its front cover, all but five of the other volumes are missing their slipcases. That being said, the set is quite clean and bright internally and complete. A remarkable compendium, heavily illustrated in color and b+w, exploring the whole world of commercial art, in Japan and abroad, for the professional designer. With remarkable articles by the leading proponents of Japanese advertising and commercial art of the day. One occasionally finds odd volumes of this thematically organized work, but it is very unusual thus, complete. Essential reference to late Taishô, early Shôwa culture. Complete, very good.

SOLD

 

 

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84.[COMMERCIAL DESIGN] ONCHI Kôshiro, SUGIURA Hisui, et al. SHÔGYÔ DESAIN ZENSHÛ 3 Shôhin-hen. Tôkyô, 1951. 26.2 x 18.5 cm. Bound western-style in cloth, with original slipcase. Onchi, Hisui, Yamana Ayao, Wada Sanzô and many others, a virtual who's who of art and design in mid-century, were involved either as consultants or editors in the creation of this series and commercial art. This is the product volume, heavily illustrated throughout with product campaign advertising from around the world. There are also articles written by professionals like Hara Hiromu on such subjects as packaging design. Provides a fascinating glimpse of the early post- War world. About good condition. Volume 3 of 5 published.

$285.00

 

 

 

 

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85.[COMMERCIAL DESIGN] ONCHI Kôshiro, SUGIURA Hisui, et al. SHÔGYÔ DESAIN ZENSHÛ 2 PR-hen. Tôkyô, 1951. 26.2 x 18.5 cm. Bound western-style in cloth, with original slipcase. Onchi, Hisui, Yamana Ayao, Wada Sanzô and many others, a virtual who's who of art and design in mid-century, were involved either as consultants or editors in the creation of this series and commercial art. This is the publicity volume, heavily illustrated throughout with publicity campaign advertising, commercial and political, from around the world. There are also articles written by giants like Onchi on such subjects as book design. Provides a fascinating glimpse of the early post-War world. About good condition, some loosening of the pages, but none are actually detached. Volume 2 of 5 published.

$275.00

 

 

 

 

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86.[DESIGN] HIRABARA [Norifumi?], editor. IRO TO KATACHI 23 (of 25) volumes. Tokyo: Iro to Katachi-sha, Shôwa 12 - Shôwa 14 [1937-39]. Volume nos. 2-18, 20-25. Small pamphlet-sized wrappered periodicals, 19 x 13 cm., ranging in size from some 22 pages to 48 pages apiece. As the title "COLOR AND SHAPE" indicates this monthly publication attempted to enhance the scientific background of design in Japan with scholarly articles aimed at professional designers. The pamphlets are in very good condition, enclosed in the original publisher's slipcase - which must have appeared when the set was complete - that lacks the spine panel. Very unusual.

$585.00

 

 

 

 

 

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87.[DESIGN MAGAZINE]. TEIKOKU KOGEI Vol.11, #12. Tokyo, Shôwa 12 [1937]. 25.7 x 19 cm. Decorated wrappers. Interesting articles on contenporary art and design.... furniture, fashion, kitchenware, graphics, etc., etc. The dominant sensibility is Deco throughout. Illustrated with halftone photo plates. Very good.

$135.00

 

 

 

 

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88[DESIGN] NAITO Ryôji. SOSHOKU KATTO GASHU. Tôkyô, Sosaku Zuan Kankôkai, Shôwa 8 [1933]. Western bound in incised leatheroid over boards. 26.8 x 19.5 cm. 78 b+w images, mostly full page of "Decorative Cuts" drawing on the female form - flappers, vamps and decadent androgynous beauties in many roles, pirates, a cowgirl, a nun, etc., etc. Ero-guro meets Beardsley. Very good condition in the original publisher's slipcase. Very unusual, showing a different side of the decorative impulse in the Japanese 1930s

$285.00

 

 

 

 

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89.[DESIGN] ODA Kazuma, artist and designer. ÔYÔ ZUAN Gekkan Dai-ichi-go. Tokyo, Papiyon Zuansha, Taishô 7 [1918]. Folio-sized wrappers, 34.5 x 24.2 cm. This "Practical Design" monthly features the work of Oda Kazuma (1882-1956) in this, its first issue. This issue features articles on the use of electric lights at night for advertising with a note at the end on some recent advertising posters that have appeared. Obviously a periodical by professionals for professionals in the design and advertising world. Not a world one usually thinks of Oda Kazuma belonging to, but here he turns his talents at lithographic printmaking to more practical ends, with sevarl examples of advertising designs and commercial art. Very good condition throughout. Very unusual.

$1,600.00

 

 

 

 

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90.[DESIGN] Saikasha. SAIKA. Tokyo 1924-9. 30 issues bound into 10 volumes (out of 36 issues bound in 12 volumes). Significant run of the SAIKA series which captured Japanese and Asian design in all its manifestations - objects, utensils. fabrics, rugs, architectural elements, lacquerware, cloisonnee etc., etc. There is a total of approximately 500 plates, of which about 100 are color woodblock printed and another dozen or so are color collotypes and color lithographs. The remainder are collotypes and offset. An interesting series, from the reference library of the Mitsukoshi Department Store. Two of the volumes are disbound with a few plates missing, but they have the original covers. Sold with all faults, and priced accordingly. Unusual set.

$850.00

 

 

 
 

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91.[DESIGN]. SAIKOKYU MIRAAKOOTO-KAMI TOPPAN-ZURI OODAMATCHI MIHONCHO NP, ND [Japan, 1960s?]. 16.3 X 24.5 cm. Leatheroid covers, 23 pages of 5.5 x 8 cm designs for matchbox covers, done in a "mirrorcoat" process of relief printing. One sample clipped for color matching. The back covers is loosening. Overall, a good copy of this very scarce and ephemeral catalogue.

$285.00

 

 

 

 

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92.[DESIGN] Shirokiya Department Store. 38 COVERS FROM RYÛKÔ MAGAZINE. Tokyo, Taisho era design, done by the design staff, including Furuta Tachiji, of Shirokiya Department store for this, their monthly magazine. Here we have a group of 38 front covers, removed from the original magazines. They were trimmed by a collector to uniform size andstab bound into an album. Here removed again, they provide a repositury of Taishô chic design at its best. Save for the trimming and occasional foxing, in very good condition.

$1,250.00

 

 

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93.[DESIGN] Sugiura HISUI. 44 COVERS FROM MITSUKOSHI MAGAZINE. Tokyo, Meiji 44 to Taishô 6 [1911-1917] Hisui, perhaps the most influential design figure in the development of "Taishô Chic", joined Mitsukoshi department store in 1908 at the age of 32 as a part-time designer and became their head of design two years later. His graphic work on the covers of the monthly Mitsukoshi magazine marked the begining of his rise to prominence and he would spend decades as an illustrator and book designer thereafter, a prime mover in the spread of a native Deco design tradition in Japan. Here we have a group of 44 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a remarkable record of Hisui's graphic genius. Save for the trimming and occasional foxing, in very good condition.

$2,600.00

 

 

 

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94.[DESIGN] Sugiura HISUI, designer. MITSUKOSHI; MITSUKOSHI TIMES; ÔSAKA MITSUKOSHI Tôkyô & Ôsaka, 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 ÔSAKA 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 reponsibilities 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). ÔSAKA 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 chnaged the world forever. 44 issues in all.

SOLD

 

 

 

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95.[DESIGN] SUGIURA Hisui, et al. ALBUM OF LOOSE DESIGNS. Modern album with clear plastic sleeves in black plastic covers. 34 Hisui designs from Mitsukoshi magazine and their advertising material. 5 designs signed by YM (MY?). 8 designs by Takehisa Yumeji. 70 designs from magazines and advertising material from Shirokiya Department Store. All from the Taishô period. Extremely interesting study collection of 117 quite large images (some are magazine covers and full page illustrations) from this important moment in the development of Japanese design. The images are in very good or better condition.

$850.00

 

 

 

 

 

 

 

 

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96.[DESIGN] Sugiura HISUI. HISUI ZUAN-SHU. Tokyo, Bun'endô. Taishô 8 [1919], the sixth printing. Folder of 50 numbered sheets of 187 designs in various media and styles (woodcut, lithograph and offset). A wonderful epitome of Taisho-era "chic", produced by Bun'endô, perhaps the finest publisher of the time using all the most advanced techniques. Designs for book publications, sheet music covers, posters, etc., etc. Hisui, responsible between the wars for Mitsukoshi department stores' trendsetting design and publicity, has been rediscovered within the last decade. There was a wonderful retrospective on his work done at the Tokyo Museum of Modern Art in 2000 and his portfolios are very sought-after. About very good over all, contains 48 original printings of the 50 plates, along with color copies of plates 2 and 29, missing from this portfolio and here supplied in facsimile. Though titled the "first series", no further work was published under this title. In the tied portfolio but without the publisher's printed slipcase.

$3,250.00

 

 

 

 

 

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97.[DESIGN] Sugiura HISUI. KODAKARA. Tokyo: Mitsukoshi Gofukuten, Meiji 45 [1912]. 29 x 23.5 cm., decorated boards and cloth, in decorated dustwrapper and original tied decorated portfolio covers. A lovely package, designed and illustrated by Hisui (1876-1965), the head designer for Mitsukoshi for the first half of the 20th century, and one of the most important commercial designers of his day. Profusely illustrated throughout in color lithographs and relief prints. The text was written by Iwaya Sazanami, this wonderful book was created for the new mothers of the burgeoning middle class who were buying their baby clothes and furnishings at Mitsukoshi. It was meant as a child's diary of development. from birth to the age of seven. Originally published in 1909, this second printing is nearly perfect (there is some spotting to the tied outer covers) and original and, as such, very scarce and desirable. [See pp. 70-71 for more on this book in the Hisui special issue of the magazine, HANGA GEIJUTSU, #140, Summer, 2008.] Near fine.

$3,250.00

 

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98.[DESIGN] TANI Chiyuki, designer. Shinshû KATTO ZUANSHU. Matsuki Shoten, Tokyo, Shôwa 9 [1934]. Large 8vo. in decorated paper over boards binding, 78 pp. of Deco b+w "cuts" as used in advertising at the time. Very good condition throughout.

$375.00

 

 

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99.[DESIGN]. TOPPAN 65. NP [Japan, 1964]. 18.7 X 27.5 cm. 2p + 44pp. Very interesting salesman's sample book of designs for matchbox labels. Stiff wrappers. Relief printed designs for washi papers. Over 200 designs for 8.5 x 5.5 and 3.7 x 5.5 cm sizes. 8 paper samples. Overall, a good copy with a torn cover of this very scarce and ephemeral catalogue.

$385.00

 

 

 

 

 

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100.[DESIGN] WATANABE Yasujiro. KODAIKEI SUKETCHI ZUAN-SHU. Tokyo, Hakubunkan, Shôwa 7 [1932] A portfolio, 19.5 x 26.8 cm., of frontisp. + 70 numbered plates with designs derived from ancient motives, advanced as sources of inspiration for contemporary design in architecture, furniture design, textiles, stained glass, etc., etc. Interesting effort to revive professional interest in homegrown sources of design. Mostly line illustrations, though there are many plates with touches of a single color, and even some color plates. The tied portfolio covers are quite worn, but the plates are very good. Complete.

SOLD

 

 

 

 

 

 

 

 

 

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101.[EPHEMERA - Matchbox and Matchbook Covers]. A COLLECTION OF OVER 950 JAPANESE MATCHBOX AND MATCHBOOK COVERS from both the pre- and postwar period mounted in one album. These covers offer a dizzying display of Japanese graphic design of the early to mid 20th Century in miniature. The designs range from traditional ukiyo-e inspired images of geisha and samurai to sleek art deco images that advertise everything from hotels, tea rooms, bars and restaurants, to barbershops, service stations, and factories. Not just Tôkyô, but also other towns and cities all over Japan. Unlike other albums which include only the front covers, in this album, the whole box is squashed flat and included, without the inner box or matches. The squashing has rendered the boxes a bit rumpled and there is wear to the boxes throughout, but the designs are strong; the best of which give an impression of largeness despite their small size.

SOLD

 

 

 

 

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102.[FRONT MAGAZINE] Okada Kuwamitsu(?), editor. FRONT 1-2 1942. Tokyo, Tôhô-sha, Shôwa 17 [1942]. Photo-illustrated wrappers, 42.3 x 29.7 cm. This is the Chinese language edition, meant for the continent, of the great propaganda magazine FRONT, which appeared in some 15 different languages. This is the first issue (number 1- 2), dedicated to the Imperial Navy and its "defense of Asia". The work combines the talents of some of the most important of Japan's photographers, working under the direction of Kimura Ihei. The layout was designed under the direction of Hara Hiromu. Our copy is a bit worn and stained, but the Chinese language versions are very hard to find, having been sent to what was, in effect, an active war zone. Very unusual.

$985.00

 

 

 

 

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103.[FRONT MAGAZINE] SUGIHARA Jirô, editor. DAI TOA KENSETSU GAHO Ajia no Mamori - Teikoku Kaigun. Tokyo, Nippon Denpô, Shôwa 17 [1942] Photo-illustrated wrappers. 42.3 x 29.7 cm. This is the Japanese language home edition of the great propaganda magazine FRONT, which appeared in some 15 different languages. This edition combines the first and second number, dedicated to the Imperial Navy and its "defense of Asia"(including amazing photo plates, some folding, of the attacks on European holdings in Southeast Asia and the attack on Pearl Harbor). The work combined the talents of some of the most important of Japan's photographers, working under the direction of Kimura Ihei. The layout was designed under the direction of Hara Hiromu. Our copy is in very good condition, inside and out. Very unusual and very important.

 

$985.00

 

 

 

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104.[MAGAZINE - PREWAR]. Mitsukoshi Gofukuten. MITSUKOSHI TAIMUSU. Tôkyô, Taishô 2 [1913]. 25.7 x 18.5 cm. Wrappers, decorated covers. 52pp of illustrations, 18pp+ of text. An early copy of a monthly magazine issued by Mitsukoshi department store. Mostly a product catalogue, the colorful covers are wonderful early Deco. Covers are a bit chipped, the pages loose, but complete.

$85.00

 

 

 

 

 

 

 

 

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105.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Issue 29. Osaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. Very Good.

$95.00

 

 

 

 

 

 

 

 

 

 

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106.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Issue 30. Osaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. A particularly interesting issue. Very good.

$125.00

 

 

 

 

 

 

 

 

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107.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #10. Osaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

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108.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #12. Osaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

 

 

 

 

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109.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #2. Osaka, Shôwa 15 [1940]. 46+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

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110.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #4. Osaka, Shôwa 15 [1940]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

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111.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #5. Osaka, Shôwa 15 [1940]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

 

 

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112.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 11, #12. Osaka, Shôwa 16 [1941]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published as the fleet was approaching Pearl Harbor, the war with the Allies was soon to begin and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

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113.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #1. Osaka, Shôwa 17 [1942]. 28+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

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114.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #11. Osaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war had begun in earnest with the Allies and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

 

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115.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #5. Osaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

 

 

 

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116.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 7, #6. Osaka, Shôwa 12 [1937]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. Very good.

$95.00

 

 

 

 

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117.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #1. Osaka, Shôwa 13 [1938]. 76+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. A particularly deluxe production of this magazine. Very good.

$125.00

 

 

 

 

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118.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 11, #12. Osaka, Shôwa 16 [1941]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published as the fleet was approaching Pearl Harbor, the war with the Allies was soon to begin and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

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119.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #2. Osaka, Shôwa 13 [1938]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published just before total war began in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

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120.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #7. Osaka, Shôwa 13 [1938]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$85.00

 

 

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121.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #9. Osaka, Shôwa 13 [1938]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

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122.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #11. Osaka, Shôwa 15 [1939]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

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123.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #2. Osaka, Shôwa 15 [1939]. 44 +pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.

$95.00

 

 

 

 

 

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124.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #4. Osaka, Shôw 15 [1939]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

 

 

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125.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #9. Osaka, Shôwa 15 [1939]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.

$95.00

 

 

 

 

 

 

 

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126.[OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #1. Ôsaka, Shôwa 15 [1940]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

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127.[POSTERS] ASAHI SHIMBUNSHA. EI ZUI SENKYO POSUTAA-SHÛ. Tôkyô, Shôwa 2 [1927] 26.2 x 18.9 cm., illustrated wrappers. This interesting book on election and other political posters of the mid 1920s in England and in Switzerland captures very effectively the social political ferment in those two democracies after the end of the First World War. Profusely illustrated, the posters themselves tell the tale most effectively. Must have had an avid audience in Japan, whose admiration for effective design in advertising and propaganda would have combined with an interest in democratic movements in Europe as their own "Taishô Democracy" was evolving. Edgewear, about good overall.

$245.00

 

 

 

 

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128.[PREWAR ADVERTISING] Edited by Shôtenkaisha. YÔHINTEN HANJÔSAKU. Seibundô, Tokyo, Shôwa 7 [1932]. 30.0 X 21.8 cm. From an important series of design portfolios originally produced by Seibundô in 1930. The original title of this work was YÔHIN BÔSHITEN KÔKOKU ZUANSHÛ and the attributed designer was Murota Kurazô. That original series was distinguished as the Advertising Design [Kôkoku Zuanshû] series. By 1932, the series had been retitled the Hanjôsaku [Planning for Profit] series and all reference to the original designers was dropped, new text was added, etc. In addition, it was bound in boards. This one is dedicated to shops specializing in Western style clothing, especially hats. This volume consists of 50 pages of plates in both color and monochrome. About good overall. In the original (edgeworn) publisher's slipcase.

$750.00

 

 

 

 

 

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129.[PREWAR ADVERTISING] Fujisawa Tatsuo, designer. YAKUHIN KESHOHIN KOMAMONOTEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. Printed paper wrappers. From an important series of design portfolios produced by Seibundô, this one is dedicated to shops specializing in medicines, cosmetics and sundries. This volume consists of 50 pages of plates in both color and monochrome, with a printed statement by the designer. Some edgewear and staining, about very good overall.

$985.00

 

 

 

 

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130.PREWAR ADVERTISING] MAEJIMA Sei-ichi, designer. CHIKUONKI AKKITEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 2.1 cm. Printed paper wrappers. From an important series of design ortfolios produced by Seibundô, this one is dedicated to shops pecializing in phonograph albums and musical instruments. This olume consists of 50 pages of plates in both color and monochrome. t has an interesting textual reflection by the designer. Some dgewear, about very good overall.

$985.00

 

 

 

 

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131.[PREWAR ADVERTISING] Matsubara Korenori, designer. TOKEI KINZOKU MEGANE-TEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. Printed paper wrappers. From an important series of design portfolios produced by Seibundô, this one is dedicated to shops specializing in watches, jewelry, metalwork and eyeglasses. This volume consists of 50 pages of plates in both color and monochrome, with a printed statement by the designer. Some edgewear, about very good overall. Printed paper wrappers. Very unusual.

$985.00

 

 

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132.[PREWAR ADVERTISING] Murota Kurazô, designer. YOHIN BOSHITEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. Printed paper wrappers. From an important series of design portfolios produced by Seibundô, this one is dedicated to shops specializing in Western-style hats. Murota was an important ad designer of the day. This volume consists of 50 pages of plates in both color and monochrome. With a printed statement by Murota. Some edgewear, about very good overall.

$985.00

 

 

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133.[PREWAR ADVERTISING] Nakagawa Iwao, designer. GANGU BUNBOGU UNDOGUTEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops handling toys, sporting goods and stationery. It consists of 50 pages of plates in both color and monochrome. With a printed statement by the designer. There is some edgewear, about very good overall.

$985.00

 

 

 

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134.[PREWAR ADVERTISING] Osaka Shuppansha. INSATSU BIJUTSU NENKAN. Osaka, Shôwa 8 [1933]. Internally staple-bound, inserted into red cloth covers. 26.3 x 19.3 cm. Over 100 pages of Japanese explanatory text and many, many samples of printing work in a commercial vein, demonstrating the printing capabilities of the industry in Osaka. A dominant Deco aesthetic and superior techniques make this a remarkable testament to the sophistication of commercial art in Japan in the 30s. The book block is loosening from the covers, else very good in the original publisher's slipcase.

$450.00

 

 

 

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135.[PREWAR ADVERTISING] Sawa Reika, designer. YOFUKU KODOMOFUKU-TEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing in western and children's clothing. Sawa Reika was an important designer and advertising photographer in his day. The volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall, with some internal foxing. Printed paper wrappers. Very unusual. Very unusual.

$1,100.00

 

 

 

 

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136.[PREWAR ADVERTISING] Sekimoto Urôji, designer. SAKE SHOYU MISO SHOKURYOHIN-TEN KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. Printed paper wrappers. From an important series of design portfolios produced by Seibundô, this one is dedicated to shops specializing In food and liquor. The volume consists of 50 pages of plates in both color and monochrome, with a printed statement by the designer. Some edgewear, about very good overall. Very unusual.

$985.00

 

 

 

 

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137.[PREWAR ADVERTISING] Tada Hokuchô, designer. GOFUKU MUSURINTEN NO KOKOKU ZUANSHU. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. Printed paper wrappers. From an important series of design portfolios produced by Seibundô, this one is dedicated to muslin dry goods shops. This volume consists of 50 pages of plates in both color and monochrome, With a brief statement by the designer. Some edgewear, about very good overall.

$985.00

 

 

 

 

 

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138.[PREWAR ADVERTISING] TOTOKI [Nobutomi?]. SHOGYO BIJUTSUTEN 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.

$850.00

 

 

 

 

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139.[PREWAR ADVERTISING] YAMANA Ayao. KAFEE BAA KISSATEN KOKOKU ZUANSHU. Tokyo, Seibundô, Shôwa 5 [1930]. 11 13/16" X 8 3/4". Printed paper wrappers. 48 pp. of b+w and color plates, and 4 pp. of preliminaries and finals, depicting designs by the important 20th Century Japanese designer, Yamana Ayao (1897-1980), the originator of the "Shiseidô-style" during his long tenure as the cosmetic company's head designer. This particular portfolio is a compilation of his designs for the coffee shop/bar trade - introducing a modified Deco aesthetic which was the height of chic in the inter War years all over the world, but particularly in the lost city of Tokyo. Remarkable, ephemeral, rare.

$2,750.00

 

 

 

 

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140.[PREWAR INDUSTRY] CHUO KOGYO-SHA. .....OYOBI KAGAKU KOGYOYO KIKAI NARABI NI SOCHI 2594 Tôkyô, 26.3 X 19.4 cm, printed wrappers, 50+pp. Interesting and informative pamphlet on Chuo Kogyo's machinery and plant construction for chemical and coal gasification works. Many photographic illustrations. An excellent example of a consciousness of "the machine as art" - the layout, diagrams and illustrations enhance and demonstrate the essential visual artfulness of these utilitarian machines and structures. In very good condition.

$175.00

 

 

 

 

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141.[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