WELCOME TO CATALOGUE 54A
JAPAN AND ASIA

 

RECENT ARRIVALS

 

 

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1. [AVANT GARDE - JAPAN] BUBNOVA, Varvara. GAITO [THE OVERCOAT]. 8vo., slipcase. Tôkyô, Hanga-sô, Shôwa 11 [1936].THE OVERCOAT was Nikolai Gogol's last literary work and perhaps his most influential as it established the short story as a literary form in Russia. It is here translated into Japanese by Hirai Hajime and illustrated by the important Russian expatriate Varvara Bubnova (1886-1983), who lived in Japan from 1923 to 1958. With deep roots in the Russian avant-garde, she became very influential in Taishô and Shôwa era Japanese art circles. There are those who even claimed that the "V" in MAVO refers to her, though that claim has been called into question. Nonetheless her relationship with the MAVO group and other members of the Japanese avant-garde is indubitable. Here she has illustrated Gogol in a sketchy, almost manga-like (but not, alas, avant-garde) style. The book itself is near fine, with Bubnova's bust of Gogol on the front board, in the publisher's slipcase. Very unusual.

SOLD

 

 

 

 

 

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2.[BOTANICAL] Kôno BAIREI, artist. CHIGUSA NO HANA. Tokyo, Tanaka Jihei, Meiji 23-24 [1890-91]. Vols 1-4, complete. String-bound, Japanese style, fukuro-toji, 24 X 16.1 cm. A total of 200 plates, some single and some double page, all printed in color woodcut, after designs by the important Meiji artist, Kôno Bairei (1844- 95). The first two volumes had appeared originally in b+w in 1889 and were reprinted with color blocks added, as here, the following year. Good colors and impressions, good condition, in the original covers. The first two volumes have their original printed title labels, volumes three and four do not.

SOLD

 

 

 

 

 

 

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3.[CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 10, #10. Tokyo, September 1931. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This issue has a wonderful Takei cover and an illustrated story by the important author Kitahara Hakushu.

$325.00

 

 

 

 

 

 

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4. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 10, #13. Tokyo, December 1931. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This is the Christmas issue and has wonderful images celebrating the holiday.

$325.00

 

 

 

 

 

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5. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 10, #3. Tokyo, March 1931. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This issue has a wonderful Takei cover and an illustrated story by the important author Kitahara Hakushu.

SOLD

 

 

 

 

 

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7. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 11, #10. Tokyo, September 1932. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. A little fold to the front cover. The slightly soiled front and back covers are by Takei.

$325.00

 

 

 

 

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8. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 11, #3. Tokyo, March 1932. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This copy is distinguished by having a two page image done by the important avant-garde figure Murayama Tomoyoshi (he was jailed the following month for two years for being a member of the Japanese Communist Party).

$325.00

 

 

 

 

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9.[CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 11, #4. Tokyo, April 1932. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This copy is distinguished by having a image done by the important avant-garde figure Murayama Tomoyoshi (he was jailed the that very month for two years for being a member of the Japanese Communist Party). The only hint of violence or war in the magazine, interestingly enough, is a drawing by a child contestant illustrating Japanese troops overwhelming Korean protestors in Korea.
$325.00
 

 

 

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10.[CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 11, #7. Tokyo, June 1932. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Issues of the magazine have become very hard to find, particularly ones in as good condition as this one.

$325.00

 

 

 

 

 

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11.[CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 12, #2. Tokyo, February 1933. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one.

$325.00

 

 

 

 

 

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12. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 12, #3. Tokyo, March 1933. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This issue has illustrated stories by the important authors Kitahara Hakushu and Ogawa Mimei.

$325.00

 

 

 

 

 

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13. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 12, #4. Tokyo, April 1933. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This issue has illustrated stories by the important author Kitahara Hakushu, among others.

$325.00

 

 

 

 

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14. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 8, #15. Tokyo, December 1929. THE LAND OF CHILDREN was the finest kid's magazine of the prewar period in Japan. There were contributions in each heavily illustrated issue by some of the finest illustrators and writers of the time. Issues are seldom found today, this copy is a bit rubbed and soiled but overall in very good condition and doubly unusual thus.
$325.00

 

 

 

 

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15. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO KUNI V. 9, #10. Tokyo, October 1930. Takei Takeo was a seminal figure in THE LAND OF CHILDREN and his wide contacts throughout the artistic and literary world insured that the magazine was the finest of its kind. Its artwork is justly famous and utterly charming. Any issues of the magazine have become very hard to find, particularly ones in as good condition as this one. This issue has a wonderful Takei cover and illustrations by Hatsuyama Shigeru, among many others.

$325.00
 

 

 

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16. [CHILDREN'S MAGAZINE - JAPANESE]. KODOMO NO TENCHI V. 1, #2. Tokyo, June 1933. There must be an interesting story behind KODOMO NO TENCHI. In style, size, printing quality and even in the artists and illustrators it featured (Takei, Hatsuyama, etc.) it iterated KODOMO NO KUNI. There were additions, some from western Japan, including such important artists as Maekawa Sempan, Ôta Saburô, Ishii Hakutei, etc. This is the second issue - research has not yet revealed how long it lasted, but obviously it could not duplicate the 22 year history of KODOMO NO KUNI. As charming as its "rival". In very good condition overall with a back cover by Takei.

$325.00

 

 

 

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17. [DESIGN - ADVERTISING ART]. A COLLECTION OF 64 TENUGUI HANDTOWEL DESIGNS, NEARLY ALL HAND-DRAWN. The drawings are laid into a 27.5 x 36 cm album entitled by hand "TENUGUI SUKETCHI" ["HANDTOWEL SKETCHES"]. The images are mostly quite large (about 28 x 17 cm), though there are a few smaller ones. Very high quality design work for the tenugui handtowels (for use in the baths and elsewhere), here employed as an advertising medium in the 20th century. The company who wished to advertise would pick a base pattern (as here) and have their own logo and information printed over the background. The designs are quite lovely and pre-War. Thecondition of the drawings is very nice, a very few on flimsy paper have torn corners. Unusual example of commercial design from the 20s and 30s. Overall very good to fine condition.
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18.[DESIGN - ADVERTISING ART]. A COLLECTION OF 80+ MOSTLY HAND-DRAWN HIKIFUDA DESIGNS. The drawings (along with a small handful of printed examples) are laid into a 28.3 x 36.5 cm album. The images range in size from about 14 x 18 cm to 26 x 17 cm or more., though there are a few smaller ones. Very high quality design work for the hikifuda design handbills so popular in traditional Japan, here carried over into the 20th century. The company who wished to advertise would pick a base pattern (as here) and have their own logo and information printed over the background. The designs are quite lovely. The only reliable date would be that of a little example of a small card printed to celebrate the choice of Tôkyô as the site of the 1940 Summer Olympics (which happened in 1936). The majority of designs would seem to date from a bit earlier than that and all seem to be pre-War. Overall the condition of the drawings is very nice, a very few on flimsy paper have torn corners. Unusual example of commercial design from the 20s and 30s. Overall very good to fine condition.
SOLD
 

 

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19. [DESIGN BOOK] Hagino Issui, designer. ZUAN HYAKUDAI. 3 Vols. Kyoto, Unsôdô, Meiji 43 [1910] An orihon in 3 volumes, (27 X 19 cm) with woodblock printed covers. Unsodo outdid itself in this early design effort. Dozens of double page horizontal designs (which become large prints, the paper size being 37.5 x 27 cm) as well as circular and fan-shaped, and single page designs, too. Most in the neo-Rimpa style which Unsôdô artists pioneered at the beginning of the last century - bold and lovely.


A very clean copy of this fragile book which is often found browned and worn. A very slight bit of occasional internal browning, else very clean condition, good colors and impressions for this important set. Complete in a custom clasped chitsu case. One of the very best of the Unsôdô design books, which is very good, indeed. Very unusual in this condition:

$4,850.00

 

 

 

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20. [DESIGN] Kajita HANKÔ, artist. WAKAKUSA Ni San Go. Tôkyô: Shunyôdô. Meiji 36, 37 [1903, 4]. Small 22.0 x 15.5 cm ribbon bound. 24 pages in each volume of finely printed (in metallic inks, etc.) designs by Hankô, an important painter and illustrator, here demonstrating a command of the new design movement as it appeared in Tôkyô. The covers are worn, but the contents are clean and very well printed. The second, third and fifth volume of five in a clasped chitsu case. Very unusual.

SOLD

 

 

 

 

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22.[DESIGN] Saitô Shoten, editors. HANA NO TÔKYÔ TENUGUI-SHÛ Tôkyô, Shôwa 32 [1957]. Small oblong riveted book with washi covers. Brushed paper title label. With 32 small designs for traditional handtowels (for the bath) scattered over 15 color machine-printed pages. Overall very good. Interesting designs.
SOLD

 

 

 

 

 

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23. [EHON] Hishikawa MORONOBU, artist. Hishikawa SHOSHOKU EHON KAGAMI. Jôkyô 2 [1685]. 2 vols. Ohon, large b+w illustrated book of occupations, done by Moronobu at the height of his powers and one of his best known creations. The copy at hand is bound in two volumes within the original covers (some are found in three volumes, as well) It would appear that, at some point,in rebinding from three volumes to two, one illustration, mounted on the inner back cover of a volume was "lost in translation" so that this copy, despite its very good condition (there are a very few attempts at crude coloring), original covers and title labels and printing which ranges from fair to very good, indeed, is rendered thus incomplete and is priced accordingly. Sometimes known by the title WAKOKU SHOSHOKU E-ZUKUSHI.

$7,500.00

 

 

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24. Hishikawa MORONOBU. MUJÔJÛYUME MONOGATARI 2 vols. ?? Ichisaburo [Edo??], N.d. [Tenna, early 1680s]. Ôhon, original blue-grey covers with the remains of printed title labels and contents labels. String-bound, Japanese-style fukuro-toji. KSSM describes the two institutional copies that it finds as probably published during Tenna, illustrated by Moronobu. The Buddhist themes are pursued with great vigor and visual power by the artist. One image has a bit of inkstaining, else complete and in fairly clean and good impression.

$9,750.00

 

 

 

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25.[EHON] Katsushika HOKUSAI, artist. KACHÔ GADEN, Ni-hen. 22.6 x 15 cm, string-bound, fukuro- toji, paper labels. The covers are Yoshikawa Kôbunkan's standard blind-patterned, dark-green. They are a bit edgeworn. The second series of bird and flower images, 28 sheets of designs done by Hokusai. Another wonderful example of the vagaries of Japanese bibliography. Though possessing a colophon that dates the edition to Kaei 2 [1849], the publisher, Yoshikawa Hanshichi, has an address listed in Tôkyô, not Edo and is well known as an early to mid-Meiji era publisher. I would date this printing to mid Meiji, but before the Okura Magobei reprint of 1891, as it is far superior in impression. This compilation of earlier work by Hokusai was originally published by Kobayashi Shimbei and Kawachiya Môhei during the Kaei era, and that date is here carried forward by Yoshikawa. The colored designs are rendered quite well here. The condition is very good.

SOLD
 

 

 

 

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26. [EHON] Katsushika HOKUSAI. Denshin Kaishu IPPITSU GAFU Zen. Kyoto: Unsôdô. Meiji 45 [1912] 23.5 x 16.0 cm. String-bound Japanese-style, buff paper covers with firm's pattern, printed paper title label. Originally published in the 1820's, this copy was issued after Unsôdô obtained the plates and right of publication, presumably from Eirakuya Tôshiro in Nagoya. Complete as issued, color illustrations in an abbreviated "ryakuga" style, the conceit being that they were done with one stroke ("ippitsu") of the brush. Fair to good impression, colors and very good condition overall.

$160.00

 

 

 

 

 

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27.[EHON] Keisai Masayoshi, artist. CHÔJÛ RYAKUGASHIKI. Kyoto & Tokyo: Unsôdô, n.d. [With a blind-stencilled brown cover with the Unsôdô logo - other examples we have seen with this cover pattern date from late Meiji/ early Taishô and after.] Unsôdô edition of this classic work on birds and animals, which had originally been published in 1797. 1 volume, complete. Near fine.

SOLD

 

 

 

 

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28.[EHON] NAKAMURA Tekisai. KINMO ZU-I 14 vols in 5. Kanbun era date in the preface from 1666. [20 kan of pictures and, {from the first kan} two table of contents volumes.] 27.0 x 19.7 cm, ôbon in size, string-bound, Japanese-style, fukuro-toji, with early blue covers but without the printed paper title labels. There are literally hundreds of b+w woodblock-printed images with brief descriptive headers and a title which gives the correct Chinese character for the thing described.

Originally conceived as a sort of combination of encyclopedia and character dictionary for those learning to read, the images and brief description of "all knowledge" in the KINMO ZU-I created a new and immensely popular genre in early modern Japan. There were soon KINMO ZU-I dedicated to everything from the world of humankind and its variety, the world of Chinese culture, through everything one would want to know about plants to a encyclopedic look at the theatre and, of course, human sexual behavior (the KOSHOKU KINMO ZU-I). And the original work, originally published in the 1660s, went through countless additions and re-creations. Even this early version, done barely two or three years after the original, already bears little resemblance to it.
This version, with most pages quartered into four images, is the version which Engelbert Kaempfer saw and purchased on his travels in Japan in 1690-1. He employed knowledge gained from the KINMO ZU-I in his two great works on Japan, especially his HISTORY OF JAPAN. He actually reproduced a series of images from the version of KINMO ZU-I we are offering here as illustrations to his HISTORY. Thus, not only is this set a remarkably important guide to the state of Japanese knowledge in the early modern period, it is also historically important as perhaps the first Japanese book to be explicitly used as a resource in a scholarly work produced in the West. There were other new and important contemporary versions produced in the 1690s and 1780s and then done anew in the 19th century. It was the absolute authority for science, botany, astronomy, technology, etc. in the popular imagination. But this version at hand is not only amazingly early, it is also acknowledged as perhaps the most interesting and well-printed version, as well.
This copy is in good condition, though the covers are worn throughout. The impressions are very good throughout. A very unusual item complete, especially this extremely early version of the work, of which even odd volumes are scarcely ever found. (This version is the first exhibit in the botany exhibition catalogued in Bartlett & Shiohara's fine bibliography of science and botany in Tokugawa Japan. They claim it is the first edition, but the first version was printed with different blocks, usually bearing but two images per page, not four, as here. Some copies of this edition omit the title phrase "zôho" [revised], as does ours, but revised it is. Most attribute our version to a date two years after the first.

$9,500.00

 

 

 

 

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29.[EHON] Ôishi MATORA. HARIKAE ANDÔ [Owari: Eirakuya Tôshirô, n.d. {c.1870s} 22.7 x 15.7, fukuro toji, string-bound Japanese style. 23 sheets of colored woodblock illustrations, many double- page in format. A gappon, 2 volume in one edition of the SÔGA HYAKUBUTSU, which originally appeared in 1832. Printed in color throughout, in the orange Eirakuya covers and their ads G-60, according to Forrer's system, which dates this copy as a later issue, done in the 1870s. The colors and impressions are good. The covers and contents are in very good condition. Not a common book and a delightful group of images, even in this later version.

$450.00
 

 

 

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30.[EHON] Suzuki Fuyô, artist. HI KANGEN SANSUI GASHIKI 3 vols. Edo, Kyôto & Ôsaka, Genji Gannen [1864]. Suwaraya môhei, et al. Blue-grey blind-patterned covers with printed paper title labels, string-bound Japanese-style, fukuro-toji. 24.9 x 17.5 cm. The original edition of this interesting book was published by the same publisher back in Kansei 1 [1789], so a late reprint, indeed. Yet the simple b+w blocks had worn but little and the book faithfully captures the spirit of the Chinese-influenced original, exploring the landscape techniques of Hi Kangen (Fei Han-yuan), a Chinese merchant and artist who lived in Japan during the mid-18th century and became a popular teacher of nanga painting. See Mitchell, p. 295. Virtually identical to the copy in the British Museum. Very unusual work complete.
$750.00
 

 

 

 

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31. [EHON] Wang Kai, et al. KAISHIEN GADEN. Kyoto, Kanreki 3 [1753]. 5 vols., 27.1 x 18.2 cm., original printed title labels and blindstamped patterned blue-green paper covers, string-bound Japanese-style fukuro toji. These volumes represent the first collection (shu^) of the Japanese edition of the Chinese classic of illustrated book publication, the Mustard Seed Garden Manual [Chieh-tzu-yuan Hua-chuan], originally published in China in the mid-17th century. This is the first appearance in Japan of "collection one" of the Mustard Seed Garden Manual, titled as such, following a printing, also in Kyoto, of selections from "collection three" 5 years earlier. One of the earliest examples of color printing in Japan. This copy has some worming throughout but the overall condition is otherwise quite good. A close comparison of this set to that illustrated online: http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm? parent_id=744245&word= by the NYPL, detailing the entire contents of their set from the Spencer collection, reveals some differences.....


Our copy has the same initial 7 sheets as the NYPL example in volume one, then ours has the 1 sheet, 2 pp. table of contents for volume one. The NYPL version then has the volume two (?) 2 pp contents pages inserted, which ours does not (in ours it is properly placed at the beginning of volume two). our sets follow along for the following 21 sheets of text but then the NYPL volume is missing sheets 22 through 24. Volume two in our copy has 2 sheets (4pp.) of a table of contents, while the NYPL version has only 1 sheet (2pp.) identical in the two versions. In volume three, our copy is identical in collation to the NYPL version, though in much better impression and condition. The inside front cover of volume four of the NYPL copy has a repetition of the title page from volume one, which our copy does not. Else, the copies collate identically. Volume five collates identically in both examples, save that our copy has the original Kanreki 3 [1753] colophon date. Also, these last two are the volumes with color illustrations and our colors are employed with bokashi shading and a lovely palette was used, much like the NYPL example. Not all seals are the same and in some cases, our version has seals where the NYPL copy does not. Overall, our copy has earlier, better impressions, than the NYPL version. Probably quite close to the 1753 date and hence extremely early for Japanese color woodblock printing.
 

A very lovely and important example illustrative of the influence Chinese aesthetics had on Japan in the 18th century, despite the absence of much official or even commercial interaction. Very unusual.

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32. ELLSWORTH, Robert Hatfield. LATER CHINESE PAINTING AND CALLIGRAPHY: 1800-1950, 3 VOLUMES. New York, 1986. 10.5 x 15", 3 vols, xvi; xviii; xxiii, 399; 369; 281 pp., 875 color plates, 118 text-figures, text in English with Chinese captions, index, cloth, all edges gilt in gold, brown decorative clamshell style box with tipped in color plates. Condition Fine. The culmination of more than three decades of study and collecting, the three-volume Later Chinese Painting and Calligraphy: 1800-1950 is one of the most important, sumptuous publications of Asian Art. Taking a period that has been ignored and undervalued by scholars, curators, and collectors, Robert Ellsworth has produced a work that not only forces us to re-examine all previous assessments of that tumultuous era in Chinese art, but promises to launch a new wave of interest in, and appreciation for, its unique achievements. Through more than 850 superb examples from his own collection, the author shows how exposure to Western art led, in painting, to an extraordinary new diversity and vitality, and how archeological discoveries in China fueled a dazzling renaissance in calligraphy. Two of the three volumes reproduce 550 paintings and 325 calligraphies, representing the work of every major artist of the period in full color. The extensive commentaries in the third volume include biographies of each artist. Every calligraphy, inscription, and seal is transliterated into precise English. The breadth and depth of fresh scholarship, the quality of the art, and the luxurious production combine to make Later Chinese Painting and Calligraphy: 1800-1950 one of the monumental achievements in art book publishing in our century: an essential source book for anyone interested in Asian art, and an object of permanent beauty and value. **Due to size and weight, the shipping cost is $30.00 (USA addresses) or $95.00 (non-USA addresses).

$500.00

 

 

 

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33. [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. The vast majority are clipped matchbox covers from the preWar era - cafe culture at its finest on display. Then there are some 72 matchboxes from the immediate postWar era squashed flat and slipped into the pockets of the album. These covers offer a dizzying display of Japanese graphic design in miniature. The designs are largely in the Deco design idiom and advertise everything from hotels, tea rooms, bars and restaurants, to barbershops, service stations, and factories. Not just Tôkyô, but also other towns and cities and resorts all over Japan. The designs are strong; the best of which give an impression of size despite their small scale.

$875.00

 

 

 

 

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34. [FACSIMILE PRINTS] Kitagawa UTAMARO. MUSHI ERAMI. Tôkyô: Ukiyoe Hanga Kankôkai. Large portfolio containing 15 full ôban size color woodblock prints. Hand-printed from hand-carved blocks under the auspices of the general editor, the noted ukiyoe scholar, Yamaguchi Keisaburô. There is no dating anywhere in the work, but everything points to a date in the 1970s. The printing is exquisite and captures, on a larger scale, the wonderful imagery from Utamaro's brilliant INSECT BOOK, originally published by Tsutaya Jûzaburô in 1788. In fine condition throughout, the prospectus is laid in to the tied dark blue portfolio covers. Almost never found as issued, complete, as the plates have been sold separately for years. Complete.

SOLD

 

 

 

 

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35. [GROTESQUERIE] [Hansui IKKADÔ] Utagawa YOSHIUME. Kotowaza HESO NO YADOGAE. N.P., N.D. [Ôsaka, Wataya Kihei, c. 1850s] 3 vols. 17.6 x 11.8 cm. Original covers, modified orihon binding. Working from a group of rebound images at the Yenching Library and Harvard and descriptions of s few volumes in the Library of Congress, it would appear that our set here is quite incomplete, having 43 double page images, while the Harvard example has over 160. That said, the volumes, despite the publisher's covers, appear to be quite arbitrary in their ordering of pages. Perhaps volumes were assembled ad hoc from whatever images were at hand or still available by the time these little volumes were sold. The conceit of the work is use of comically grotesque images to play upon old sayings and the like. All the images in the Harvard collection have been digitized and can be seen at:

http://pds.lib.harvard.edu/pds/view/7266014?n=154&printThumbnails =no

Images such as these were extremely popular in late Edo, early Meiji Japan, but, being largely ignored by institutions and collectors, and being unpreserved for that reason, they are seldom seen. Wonderful in that these "scraps" preserve the original covers and format, they are incomplete and priced accordingly. Good condition overall with the original title lables, good colors and good impressions.
$600.00

 

 

 

 

 

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36.[JAPANESE DESIGN - PAPER] BUNKAGAMI. 33.5 x 23.5 cm. Ribbon-bound in boards with printed paper title label. There are twenty folded and bound in samples of wonderful Japanese paper. The dominant printing technique appears to be stencilling. Some might be intended as fusuma paper, being opaque with complex repeating patterns. Aside from a seal on the Front cover ("ima"), there is no indication of who created this sample book. Undated but probably from the early post-War period.

SOLD

 

 

 

 

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37.[JAPANESE DESIGN - PAPER] "GETSU". MANYÔ-IN ON-FUSUMAGAMI MIHONSHÛ. 34.0 x 21.4 cm. Ribbon-bound in boards with printed paper title label. There are eighty-three single sheet bound in samples of wonderful Japanese paper. Many sheets are embossed, blind-stamped, overprinted...... Intended as fusuma paper, being opaque with complex patterns. The only sign of a source is the "Getsu" logo on the title label. One of the most interesting extensive examples of sucha sample book we have seen. Undated, probably from the early post-War period.

SOLD

 

 

 

 

 

 

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38.[JAPANESE DESIGN - PAPER] Masuda Fusumagami-ten. SHIRAKABA. 33.2 x 21.7 cm. Western hardcover board binding. There are thirty double page samples of wonderful Japanese paper (and one unfolded single sheetand 4 samples of different weights of backing). The dominant printing technique appears to be stencilling. Intended as fusuma paper, being opaque with complex patterns. Shirakaba is the name of the company that marketed the samples, perhaps gathered from a number of sources and combined in this sample book. From the early post-War period.

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39.[JAPANESE DESIGN - PAPER] SAGANO HATSUBAIGEN. Dainishû SAGANO. 32.3 x 22.5 cm. Ribbon-bound in boards with printed paper title label. There are twenty-two folded and bound in samples of wonderful Japanese paper. Many sheets are embossed, blind-stamped, overprinted...... Some might be intended as fusuma paper, being opaque with complex repeating patterns. Sagano is the name of the company that marketed the samples, perhaps gathered from a number of sources and combined in this sample book. The second series, undated but probably from the early post-War period.

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40. [JAPANESE DESIGN - PAPER] SAGANO HATSUBAIGEN. Dainishû SAGANO. 32.3 x 22.5 cm. Ribbon-bound in boards with printed paper title label. There are twenty-eight folded and bound in samples of wonderful Japanese paper (and one unfolded single sheet). The dominant printing technique appears to be stencilling. Some might be intended as fusuma paper, being opaque with complex repeating patterns. Sagano is the name of the company that marketed the samples, perhaps gathered from a number of sources and combined in this sample book. The third series, undated but probably from the early post-War period.

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41.[JAPANESE DESIGN - PAPER] SHINJU. 31.7 x 21.0 cm. Ribbon-bound in boards. There are twenty-one folded and bound in samples of wonderful Japanese paper. The dominant printing technique appears to be stencilling. Intended as fusuma paper, being opaque with complex repeating patterns. Undated but probably from the early post-War period.

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42.[JAPANESE PROPAGANDA] Asahi Shimbunsha. SAKURA. Volume 4, #11. Large wrappered staple bound illustrated photomagazine in the tradition of FRONT and HOMELIFE. This number, published in November of 1942 celebrated the Japanese Navy and its Academy. The amazing victories of early 1942 had already given way to a stalemate at sea after the battles of Midway and then the Solomons, but certainly things did seem bright for the Axis as Germany ground deeper into the USSR and Japan had just taken the Attu and Kiska in the Aleutians, the only American soil captured during WWII. Interestingly, it was also the month that turned the tide in the USSR, as stalemate and finally a long slow defeat faced the Germans there. The first counterattack by the Americans at Gaudalcanal was raging, the battle turning that very month against the Japanese. The Aleutians would be retaken by the Americans at great cost (over 1000 Americans and 2000 Japanese killed) two months after this issue appeared. With the wisdom of hindsight, we know the war was already lost for Japan - they would not know or accept that until almost all their cities were burning, their huge commercial and military fleet was at the bottom of the sea and they were militarily isolated and helpless. All within a little more than two years from the height of their expansion. All of which does not obviate what an amazing visual feast SAKURA is, from the covers to the ads, a consistent message of normalcy, progress and steadfast purpose in a great task.

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43.[JAPANESE PROPAGANDA] Asahi Shimbunsha. SAKURA. Volume 6, #2 [#31 overall]. Large wrappered staple bound illustrated photomagazine in the tradition of FRONT and HOMELIFE. This number, published in February of 1944 celebrated the plans for a cross continental railway to cross Eurasia from Tôkyô to Berlin, complete with an undersea tunnel from Japan to the mainland. SAKURA magazine was written in English, Chinese and French. The whole world seems to lay at the feet of the Axis in this rosy scenario as sketched throughout the magazine. East Asia under the guidance of Imperial Japan is on the march to build a new world. Yet, by February of 1944, the Red Army was in Poland and the Ukraine, Sevastopol was cut off, times were bleak for the 1000 year Reich, indeed. Closer to home, the Allies had "turned the corner" in the Western Pacific, had isolated the large Japanese force at Rabaul and were headed north towards the homeland. At some point during the war reality and appearance began a rapid divergence and as the end approached it became all pure delusion. All of which does not obviate what an amazing visual feast SAKURA is, from the covers to the ads, a consistent message of normalcy, progress and steadfast purpose in a great task.

$650.00

 

 

 

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44.KITASONO Katue, poet & ONCHI Kôshirô, artist. Shishû NATSU NO TEGAMI. Tôkyô, Aoi Shobô, Shôwa 12 [1937] Folio, 30.0 X 22.0 cm, #11 of 200 copies printed. The binding, the typography, the illustrations, all combine as a fluid visual container for Kitasono's brilliant poems. Interesting to compare this work to the other collaboration (done by the same publisher a year later) of Onchi and Kitasono, SABOTEN-TO. On an interesting sidenote, when Kitasono sent a copy of this book to his friend Ezra Pound, for whom he had obtained a lucrative position for the JAPAN TIMES as Italian correspondent, the latter confessed he could not even begin to read it (his Chinese was poor and his Japanese non-existent). There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Fine condition, complete as issued. I can locate only two institutional holdings, the British Museum and Mount Holyoke College. I have handled another copy of this work, which had what was almost certainly the original wraparound case with a printed title label, a detail which this lovely copy does not include, alas. Priced accordingly.

$4,500.00

 

 

 

 

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45.[KYÔKABON]. KYÔKA TANI NO TSUKI. Ôsaka and Kyôto, Kansei 7. Wonderful little two volume kyokabon with poetry and images by Keigetsu, et al. The covers are delicately patterned in mica, has the remains of the original printed title labels. Clean and very nicely printed internally with some charming sumi-e in-page prints merging with the poems and calligraphy.

$875.00

 

 

 

 

 

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46.[MAVO] HAGIWARA Kyôjiro. SHIKEI SENKOKU. Tokyo, Taishô 14 [1925]. Prelims, 11pp, 6pp., 161pp., 5pp., finals. Profusely illustrated throughout in linocuts by Okada Tatsuo, Toda Tatsuo, and Yabashi Kimimaro. Wrappers designed by Okada. Without the Okada-designed slipcase. Perhaps the most important Mavo-inspired volume, and, in its first edition, as here, quite scarce. Far more difficult to find than the second edition. The cornerstone of any MAVO collection. Neither the Pompidou nor the Uruwa Museum catalog illustrate the first edition, even without its slipcase - they both show the second edition with the red on blue background second-issue slipcase.  In quite good condition overall, unsophisticated with a bit of rubbing and loss to the fragile spine. In a custom fitted clasped chitsu case.

$12,500.00

 

 

 

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47.[MEISHOKI] Shitomi KANGETSU. SANKAI MEISAN ZUE. Naniwa [Ôsaka], Yoshida Shôrindô et al., Kansei 11 [1799] 25.2 x 17.8 cm. String- bound, fukuro-toji, grey green paper covers, horizontal painted lines, blind-stamped wave and mountain patterns, printed paper title labels. 5 volumes. Interesting work on the "products of the seas and the mountains". Good printing of this important book, good condition. Complete.

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48.[MINGEI - FOLK ART] Sôetsu Yanagi, editor. Set of KÔGEI magazine, complete. 120 volumes. Nihon Mingei Kyôkai, Shôwa 6 - Shôwa 26 [1931-51] Yanagi was the father of the mingei art movement in the 20th century in Japan and his journal, KÔGEI [CRAFT], the vade mecum for understanding the movement and the art it celebrated. The thousands of pages of text are in Japanese throughout, it is full of original examples of handmade paper, of photos of the small workshops of craftspeople all over Japan and the products of their hands, of old and beautiful examples of mingei from the past, etc., etc. It is a work that could never be duplicated today as it relied upon on the spot observation and the subjects, certainly, and their skills, in most cases, have long since passed away. Yanagi and his friends and colleagues were scholars of what they could not have known was a dying cultural world.

Given its demand by curators, by restorers, historians, it is remarkable KÔGEI has never been re-issued, but the sheer breadth of the work and its intrinsic beauty may have been too daunting a task for any modern publisher. The books themselves are works of art in many cases, the bindings embellished by such craftsmen as stencil artist Serizawa Keisuke, a friend of Sôetsu, among many others. Published in 600 copies, many have perished in the intervening decades of war and renewal, sets separated, parts lost.
Though they do appear now and again, complete sets are by no means common. The set at hand was a working set and as such occasionally a bit rumpled, but overall in very good condition. Complete. One of the greatest works of art scholarship of the 20th century.
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49.[NARA EHON]. UTSUBO MONOGATARI. (NARA EHON) UTSUBO MONOGATARI [TALES OF THE HOLLOW TREE]. 23.1 x 17.1 cm. Green brocade covers. Hand calligraphed manuscript bound Yamato-toji style, on torinoko paper. The style of the illustrations and the calligraphy date the work to the early Tokugawa period (mid-17th Century). This unfinished manuscript of the classical tale consists of 45 leaves (each double-sided), of which 37 are calligraphed in an elegant hand, with 4 single page and 1 double page richly colored paintings in a skilled Yamato-e manner. The manuscript is underpainted with flowers and grasses in gold throughout. This copy is remarkably well preserved, with but slight wear to the cloth covers. Internally, it is bright and clean. From the collection of the photographer, Roman Vishniac.

$12,500.00

 

 

 

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51.[PREWAR EXHIBITION] KAIKÔ HAKURANKAI. SANSHIKENGYÔ TOKUSETSUKAN SHASHINCHO 1930. N.P., [Kôbe], 1930. Western-style, black suede bound large 8vo. volume. A pictorial and textual record of the Silk Spinning Association's exhibit building at the KAIKO [INDUSTRIAL] FAIR, which celebrated Kôbe's position as a major port and export hub. Wonderful photos of the Exposition buildings and displays, often in a mixed Deco and Modernist idiom. Very good condition, very unusual.

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52.[PRINT ALBUM] Mizuno TOSHIKATA (1866-1908). SANJÛ-ROKKASEN. Akiyama Buemon, Tôkyô. Meiji 26 [1893] Orihon 35.5 x 24 cm. 36 prints of beautiful women with a double page illustrated preface, and one page final, all beautifully color printed in woodblock. Quite early and excellent impressions (colored title panels with bokashi and karazuri). Toshikata was a student of both Yoshitoshi and Watanabe Seitei who became quite influential in his own right. One of his most important bijinga series, complete. Mounted in an orihon, grasscloth over boards. The cloth is fraying, else the album is very good and the prints excellent.

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53.[PRINTMAKER'S SET]. SHOSO HANGACHO JURENSHU 9 vols. Tokyo: Aoi Shobô, 1941-3. Each volume 26.8 x 21.2 cm in printed wrappers. A complete set with matching numbers (81/250cc) of this important wartime print masterpiece. How this set was ever created on such exquisite paper during wartime rationing is doubtless a story in itself. Takei Takeo, Onchi Kôshirô, Oda Kazuma, Henmi Takashi, Hiratsuka Un'ichi, Kawanishi Hide, Kawakami Sumio, Sekino Jun'ichirô and Maekawa Sempan each contributed 10 original prints to their own volume, making a total of 90 original prints in the set. Even individual volumes are hard to find; so a set in such lovely overall condition is remarkable, especially with matching numbers. All are enclosed in a snugly fitting shipping carton for the set, sent from Kyôto to a Mr. Kurota in Akasaka, Tôkyô. A remarkable work in remarkable condition.

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54.SESSUIKEN/CHASEI, editor; TACHIBANA Shôzan, artist. HAIKAI SHOKUGYÔ ZUKUSHI 2 vols. Edo, Tempô 13 [1842]. 23.4 x 16.6 cm., string-bound, Japanese-style, fukuro-toji. Original covers and printed paper title labels. Unusual and interesting haikai collection, with wonderful Edo Shijô style illustrations, 30 double page and 11 single page, carefully printed in light colors. Overall good condition, excellent impressions and colors, but with the printed paper label of volume two missing and worming throughout. In a custom clasped chitsu case. See Mitchell pp. 282 & 283.

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