WELCOME TO CATALOGUE 55A
JAPAN AND ASIA

 

 

 

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1.[THE 30S - EROGURO] Imada KINGO, editor. HANZAI KAGAKU. 5 issues1931-32, Volume II, #'s 9, 10, 11, 12 & Vol. III, #7.Published in Tôkyô by Bukyôsha. 8vo. size, printed wrappers. This magazine was only published for a short time, though it managed to include stories by important literary figures, wonderful photomontage and avant garde photo foldouts, strange erotica, tales of urban life, reports on "sexual life among the proletariat", etc., etc. Under the broad rubric of "ero-guro nonsensu", the literary and artistic scenes of pre-War Japan, as embodied here in CRIMINOLOGY MAGAZINE, explored the margins. As might be expected, the editor, Imada Kingo, was a multitalented writer and artist both, who became best known for his children's stories. The two magazines are both a bit worn and rubbed, but internally quite good. Interesting and very unusual publication. 5 numbers.

SOLD

 

 

 

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2.[ADVERTISING ART - JAPAN]. Tôkyô Asahi Shinbunsha Kenshô Nyûsen KÔKOKKAI. KÔKOKU 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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3.[AGRICULTURE] Miyazaki Ryûjô. Kôeki NOKO ZENSHO 5 vols. Tôkyô, n.d.[1881]. Bound Japanese-style, fukuro-toji. Original covers and title labels. 22.7 x 15.5 cm. An extensive guide to the practice of agriculture in the early modern era of Meiji Japan. Largely text, but illustrated throughout in woodcut, some of which in each volume are skillfully colored. Near fine condition. Unusual and important work. Miyazaki Ryûjô had also produced such important landmarks of modern learning as the Shintei Nihon yochi zenzu of 1878. Complete.

$1,750.00

 

 

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4. [AVANT GARDE] ITAGAKI Takao. KIKAI TO GEIJUTSU TO NO KÔRYÛ. Tokyo, Iwanami Shoten, Shôwa 4 [1929], 1st printing. 8vo., decorated cloth covers. One of the most important works of criticism by Itagaki, the man who "invented" avant garde photography in Japan. This examination of the CONFLUENCE OF ART AND THE MACHINE is not only an intellectual achievement of great importance, it is a wonderful piece of book design, as well. Itagaki and the important avant garde photographer, Horino Masao, collaborated to create this interesting and heavily illustrated work. Without the cardboard slipcase but otherwise complete. A very scarce work, especially the first printing.

$1,850.00

 

 

 

 

 

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5.ITAGAKI Takao & HORINO Masao. YÛSHÛSEN NO GEIJUTSU Shakaigaku-teki Bunseki. Tokyo, Tenninsha, Shôwa 5 [1930].  181+ pp.  20.3 x 15.7 cm, bound in yellow cloth.  This book, roughly translated as THE ART OF THE LUXURY OCEAN LINER, A Sociological Analysis, is a fascinating and important work of criticism.  A combination of the work of Itagaki, the first critic of avant-garde photography in Japan and Horino, whose important photographic work appears here in a book for the first time, it is a significant book, indeed. There are some 120 halftone photo-illustrations and a photomontage dust-wrapper, printed in black and red.  The book itself is good, with some sizing loss to the covers, the dust-wrapper has some small loss at the head of the spine.  Scarce in any condition, virtually unobtainable as here, with the original printed slipcase.  Complete.

SOLD

 

 

 

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6. [AVANT-GARDE] Murayama Tomoyoshi, Yanase Masamu, et al. YUUMOA THE HUMOR Dai-ichigo. Tokyo: Taishô 15 [1926]. Small 8vo., illustrated wrappers. Edited by Wagatsuma Heikichi. The first number of this magazine, heavily illustrated in b+w and color manga-like cartoons, done by some of the foremost avant-garde authors and artists of the day, several of whom had been closely involved with the MAVO movement a few years before. Murayama had brought back Grosz cartoons from Berlin in 1923, influencing his fellow Mavoist Yanase. There are several cartoons in the present work which show that influence. Altogether an interesting look at the left-wing during Taishô and early Shôwa. The magazine only lasted for 4 issues and soon faded away - it is virtually unknown outside Japan and scarcely within. Very delicate and ephemeral. Very good condition. Scarce.

$1,200.00  

 

 

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

SOLD

 

 

 

 

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8.[BOOK DESIGN] TSUDA SEIFÛ, designer. SÔTEI ZUAN-SHÛ 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, Seifû 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 inner 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.[BOTANICAL] Li Shizhen, revised by Ino Jakusui. Shinkôsei HONZO KOMOKU. Kyôto & Edo. Shôtoku 4 [1714]. Ohon size, 26.8 x 17.7 cm. Ino [1655-1715], an important traditonal doctor, revised and enlarged Li Shizhen [1518-93]'s seminal work of materia medica, which had been imported into Japan through Nagasaki in the early 17th century. Hayashi Ranzan [1583-1657] procured a copy of the chinese edition in Nagasaki in 1607 and presented it to the Bakufu, which undertook a variety of state sponsorship of herbal medicine, planting two herb gardens near Edo, one in Ushigome and one in Shinagawa. There had been at least one Japanese printing of the original Chinese work in the mid 17th century but the edition at hand, the revised and enlarged Japanese edition of this important work, is the definitive version, undertaken by Ino Jakusui [1655- 1715]. The HONZO KOMOKU would go through several subsequent Japanese editions and there is at least one exhaustive version done in modern Japanese in the 20th century, as well. Our copy is complete. There are 52 volumes, bound in 37, then another 12 supplementary volumes bound in 8, for a total of 64 volumes bound in 45. Of the 45 bound up volumes, four are illustrated in b+w woodcut. The printings throughout are good or better. Most volumes have their original worn title labels. There is very little internal soiling, but some worming throughout. Very unusual in any state, even more so in this good condition throughout.

$6,850.00 

 

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10.[EHON] Tanigami Kônan, artist. Seiyô SOKA ZUFU. Kyoto: Unsôdô, Taishô 6 [1917]. 5 volumes. Orihon folding albums, each 27.8 x 18.8 cm, in boards with printed paper title labels. There are two "Spring" volumes, bound separately, two "Summer" volumes, then "Fall" & "Winter" are bound together, each with the publisher's title slip. Each season has a table of contents listing the prints [in English, kana and kanji, where appropriate]. This complete set consists of 125 (each image size 22.4 x 33.1cm) double-page prints. There is no mention of this book in any of the standard Western references (a fact which illustrates again the need for an Unsôdô bibliography!). These "Seiyô", i.e. "Western", flowers are depicted in a realistic fashion and printed in lovely rich colors with a great deal of skill. Unlike some other botanicals, no bald descriptive text intrudes upon the print itself. The captions are banished to the margin. In the case of the SEIYÔ ZUFU, the very earliest impressions are on delicate paper which weakens a bit at the fold. The covers are a bit worn, but the impressions are very good, the internal condition good (with some paper browning and some folds starting a bit) and the colors lovely. It is one of the nicer examples of this important botanical that we have seen.

$4,250.00 

 

 

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11.[BOTANICAL] Toneri Shigetaka. SÔMOKU SEIFU; YÛDOKU SÔMOKU ZUSETSU. [Nagoya], Eirakuya Tôshirô, Bunsei 10 [1827]. 5 volumes, string-bound Japanese style, fukuro-toji, original printed paper title labels. 28.3 x 19.2 cm. Perfect condition. An interesting illustrated work (some color) on poisonous plants. Found at Kerlen 1657,1895. Complete. In a modern clasped chitsu case.

$3,850.00

 

 

 

 

 

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12. [CANDY] TAKAGI Shotarô, editor. YAMATO NISHIKI Zen. Tôkyô, Tôkyô Kashi Kenkyûkai, Taishô Gannen [1912]. Tassel-bound, oblong (22.1 x 28.3 cm) in brocade covers with printed paper title label. A wonderful guide to the schools of traditional candy-making in japan and their varied productions, profusely illustrated in color lithograph, with an extensive textual explanation of the various examples presented. There is some cover wear and page soiling but good to very good overall. A very scarce and informative work on this popular subject.

$950.00

 

 

 

 

 

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13.[CHINESE LANGUAGE -- Cantonese Dialect]. BRUCE, Donald. EASY PHRASES IN THE CANTON DIALECT OF THE CHINESE LANGUAGE. San Francisco: Bruce's Publishing House, 1877. Second edition. [152] unnumbered pages. Small folio, 24.5 x 16.9 cm., publisher's printed paper boards with later (but old) brown cloth tape on spine. Boards are dust soiled and edgeworn. The first few folios are loose, with one sprung. Lacks frontispiece, but a facsimile is laid in. The book is comprised of 72 one-page lessons, each is a list of 22 practical and/or common phrases in Chinese and English (questions with possible answers and related ideas) that are loosely grouped thematically (introductions, weights and measures, buying and selling, health, etc., etc.), with a blank page opposite each lesson for the pupil "to make a record of the sounds as pronounced by his teacher," as is explained in the Preface. (This feature, a rather ingenious technique, also allows Chinese speakers to use this book to record their English teacher's pronunciation, making it a Chinese/English or English/Chinese book depending upon the student and the teacher.) A few pencil notes have been made opposite the first two lessons; otherwise the text is clean. Condition is only about good, yet it is a scarce title: OCLC lists only eight holdings for this edition, and none for the first edition.

$425.00 
 

 

 

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14. [CREATIVE PRINT MOVEMENT] HIRATSUKA Un'ichi, editor. Shôwa 17-nenpan KITSUTSUKI HANGASHU. There were 100 copies hand-cut and hand-printed by the artists in Tôkyô in 1942. This copy is one of a further 30 sets that were produced to exchange between the members of the artists' group of printmakers who created the series. With the original table of contents which calls for 23 prints (all are present). It should be noted that some of the prints are marred by worming, but this set is extremely unusual and the artists very important, including such masters as Munakata Shikô, Ono Tadashige, Hiratsuka Un'ichi and Azechi Umetarô, among many others. Complete, as issued, in the original portfolio cover with contents page and colophon, as well.

SOLD

 

 

 

 

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15. [CREATIVE PRINT MOVEMENT] Kuriyama Shigeru, editor. HIHAKU Dai-ikkan, Dai-ichigo. Shizuoka, Shôwa 9 [1934]. Bound Western style in block printed wrappers. 28.7 x 21.5 cm. Contains 12 hand- printed images by such masters of the modern Japanese print as Maekawa Sempan, Hiratsuka Un'ichi, Fujimori Shizuo, Yamaguchi Susumu, Kawakami Sumio, etc., etc. Very scarce dôjin magazine, printed in but 80 copies. Pre-war privately printed magazines like these are quite scarce. In near perfect condition.

$1,100.00

 

 

 

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16.[CREATIVE PRINT MOVEMENT] Kuriyama Shigeru, editor. HIHAKU Dai-ikkan, Dai-nigo. Shizuoka, Shôwa 9 [1934]. Vol.1 #2. Bound Western style in block printed wrappers. 28.7 x 21.5 cm. Contains 12 hand-printed images by such masters of the modern Japanese print as Maekawa Sempan, Kawanishi Hide, Fujimori Shizuo, Yamaguchi Susumu, Kawakami Sumio, etc., etc., as well as two samples of dyed cloth by Suzuki Ichiro. Very scarce dôjin magazine, printed in but 80 copies. Pre-war privately printed magazines like these are quite scarce. In near perfect condition.

SOLD

 

 

 

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17. [Crepe Paper Book] Mrs.T.H.James, Translator. Japanese Fairy Tale Series No.20, THE ENCHANTED WATERFALL. Kami Negishi, Tokyo: Hasegawa, Meiji 25. Small format creped version of this title. The Kami Negishi date points to a production after 1911 and before the mid 1930s. In very clean and crisp condition and unusual thus.

$185.00

 

 

 

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18.[Crepe Paper Book] Mrs.T.H.James, Translator. Kobayashi Eitaku, Artist. Japanese Fairy Tale Series No.18 THE OGRE'S ARM. Tokyo, Kami Negishi: Hasegawa. Small format creped version of this title. The address indicates it was produced after 1911 and before the mid 1930s. In very clean and crisp condition and unusual thus.

SOLD

 

 

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19. [CREPE PAPER BOOKS]. JAPANESE FAIRY TALE SERIES, First Series. 20 volumes. Hasegawa, Tôkyô. Various dates - volumes 1, 8, 15, 17 & 18 were produced when the Hasegawa was located in Honmura-chô (from 1902-11). The remaining 15 volumes were produced when Hasegawa moved to Kami-negishi (after 1911, but before the firm name reverted to the old family name Nishinomiya in the mid 1930s). In impeccable condition throughout and very unusual thus. Full matching sets in like condition throughout have become quite unusual.

SOLD

 

 

 

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20. [CREPE PAPER BOOKS]. JAPANESE FAIRY TALE SERIES, Second Series. 3 volumes. Hasegawa, Tôkyô. Various dates - volumes 1 and 3 were produced when the Hasegawa was located in Honmura-chô (from 1902- 11). Volume Two was produced when Hasegawa moved to Kami-negishi (after 1911, but before the firm name reverted to the old family name Nishinomiya in the mid 1930s). In impeccable condition throughout and very unusual thus. Full matching sets of the second series in like condition throughout have become quite unusual.

SOLD

 

 

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21. [DESIGN] FUJII Tatsukichi, designer. SÔSAKU SENSHOKU ZUANSHÛ [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 four-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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22.[DESIGN] Furuya KORIN. KOGEI NO BI. Kyoto, Unsôdô, Meiji 41 [1908]. 3 vols. Folding orihon albums, 32 X 22.5 cm, in paper over boards with integral printed title labels. The first printing of this set, as here, is very scarce and quite delightful - the 75 large double page designs in woodblock, employing karazuri (gauffrage), metallic inks, etc., represent a peak of the printing art as practiced by Unsôdô at the time. Kôrin, the designer, is usually considered an equal to Sekka and Tennen, though this work and his remarkable SEIKA, are the only large format works by him we have seen. The designs are in an interesting format, often constrained to the shapes of pottery pieces, especially vases. The result is a remarkable demonstration of how two dimensional designs can be adapted to three dimensional shapes, here rendered, of course, in two dimensions once again. The printing is superb, the condition throughout good to very good, though there is occasional slight browning of the paper, as usual. In a later folding clasped chitsu case which preserves the original chitsu printed paper title label.

$6,250.00 

 

 

 

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23. [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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24. [DESIGN] Katsushika Hokusai. SHÔSHOKU EHON SHIN-HINAGATA. 22.4 x 16.2 cm. Kyôto, Ôsaka & Edo. Tempô 7. String-bound, Japanese- style, in the (original?) paper covers, but missing the printed title label. Complete. A wonderful selection of design ideas by the master. One occasionally sees Meiji reprints of this work, but this, the original edition, is very scarce. Very good impressions throughout. Quite clean.

SOLD
 

 

 

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25.[DESIGN] KAWARASAKI, Kôtô. MIZU HYAKUSHÛ. Kyôto, Uchida Bijutsu, Shôwa 12 [1937]. 2 vols., bound orihon in woodblock printed paper over board covers. The first set of the MIZU HYAKUSHÛ series. There are a total of 48 pages of lavishly printed tall slender designs, over one hundred in all, based on a water theme - waves, whirlpools, waterfalls - quite an amazing variety of designs. Kawarasaki was probably the most important designer of the late 1930s. In very good condition in the original worn publisher's clasped chitsu case.

$2,500.00 

 

 

 

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26. [DESIGN] NIHON ORIMONO SHINBUNSHA. Senshoku Zuan Oyô SHIKI SOKA GASHU. Osaka, Shôwa 12 [1937]. Oblong orihon folding album in brocade covered boards. 28.5 x 39 cm. Printed silk title label. Colophon on the inside rear cover of the publisher's clasped chitsu case. 25 large, ôban-size, full-color woodblock prints of plants and flowers. The designer of the prints is Fujiwara Bankyô [reading?]. Very ornate surfaces, with gofun applied, mineral pigments, etc. Quite Deco in effect. The album and prints are clean overall, overall very good condition. Very unusual production. Complete.

SOLD

 

 

 

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27.[DESIGN] Nishimura Kichiemon Shôten. ZUAN BUNKO, Dai-ikkan, Dai-chigo. Kyôto, [Meiji 41 {1908}], 25.1 x 18.3 cm., Illustrated western-style wrappers. 12 full page plates. 2 in color woodblock, 6 in color reproduction (litho?, collotype?) 3 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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28.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, avade mecum for the bon ton, with pictures of summer frocks, kimono fabrics, morning coats, shoes - with instructions on how they should be cleaned, stored, worn. With pictures and prices and order sheets. Useful and used, then thrown away, they are seldom found today. A gathering of this size is quite unusual, especially as it begins with issues of MITSUKOSHI TIMES from 1908 - the year that Hisui took over design responsibilities for the house organ. 

The issues: 

MITSUKOSHI TIMES 11 issues from 1908-13 
(Oct & Nov, Meiji 41 {1908}; V.8, nos. 4 & 6; V.10, nos. 9 & 11; V.11, nos. 4, 7, 11 & 14 V.12, no. 3). 

MITSUKOSHI 31 issues from 1912-1923
 (V.2, no. 4; V.4 nos. 5, 6, 7 & 8; V.5 nos. 4, 5, 7 & 8; V.6 nos. 2 & 11; V.7 nos. 6, 7 & 8; V.8, nos. 2, 3, 4, 5 & 7; V.9 nos. 4, 5, 6, 7, 9 & 12; V.10 nos. 4, 6 & 12; V.11 no. 11; V.12 no. 3; V.13 no. 6). 

Ô
SAKA MITSUKOSHI 2 issues
, V.4 no. 8 [1915] and v.6, no. 5 [1917].

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

$4,850.00

 

 

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

SOLD
 

 

 

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30.[EARLY PRINTING]. HYAKUMANTO DARANI. Turned wooden pagoda shaped container and printed Dharani Buddhist charm placed inside. The pagoda is about 21.0 cm tall and the circular base has a diameter of about 10.3 cm. The printed charm is The Hyakumantô [One Million Pagodas] refers to a devotional project called for by Empress Shôtoku to produce one million wooden pagoda, each with one out of a total of four different dharani prayers inside, printed on paper slips. The edict, in celebration of the successful defeat of a rebellion in the north, was issued in 764 and the printing was completed by 770. Traditionally, the project was celebrated as the first example of printing that could be dated accurately. As cultural matters so often are in 21st century East Asia, the Hyakumantô's primacy as printing has become politicized and been much disputed by Korea and China, both of whom claim earlier 8th century examples. That being said, the Hyakumantô is early indeed. The enormous number produced mean that quite a few survive. The Hyakumantô is the only example of such early printing any of us could ever hope to possess or even see in a lifetime. Our example comes in a vintage (Meiji era?) wooden sliding box, from Hôryûji temple near Nara, the storage place for most of the remaining Hyakumantô Darani. Hôryûji itself was founded in the late 6th, early 7th century. Our pagoda retains some of its original whitewash patina, though it has a bit of chipping to the finials. There is an inscription to the base and to the box. The charm, a type 3, one of the scarcer of the 4 varieties, is somewhat wormed and remains in original condition. A remarkable and enormously important 1250 year old relic of East Asian high culture.

SOLD

 

 

 

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31.[EHON - Conchology] HIRASE Yoichirô. KAI SENSHÛ. Kyoto: Unsôdô, Taishô 3-11 [1914-22]. 24.8 X 17.8 cm. 4 vols., complete. Printed paper title labels, silk over boards. Orihon folding books of color woodcuts of shells. Each volume contains 20 double page prints. Though the English title would be "One Thousand Shells", there are only 400 illustrated in the set, supporting the theory that the work was originally planned for 10 volumes and never finished. The first three volumes are scarce (our volume one is dated 1914, volume two and three are dated 1915) but volume four, here the issue printed in 1922, is very hard to find. Thus a complete set, particularly in the clean condition this one is in, is, quite simply, rare.

 
The preface is in Japanese, and the plate lists in bilingual Japanese and Latin. Hirase had a museum of shells and originally commissioned this lovely work from the master printers at Unsôdô to commemorate its first anniversary. Very good, the covers are a bit worn, a bit of offsetting here and there. The printing was so exquisite and the expense of production so large, as to make it one of the jewels of 20th century woodblock production.

$8,500.00

 

 

 

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32.[EHON - TEN BAMBOO HALL] JÛCHIKUSAI SHOGAFU. N.P.,N.D. [Kyôto, Hishiya Magobei, c. 1831]. 16 volumes. An early printing of the recut 19th century Hishiya Magobei version of the SHIH-CHU-CHAI SHU HUA P'U, 10 BAMBOO HALL PAINTING STUDIO. 25.2 x 14.7 cm. Printed title slips on covers. In a red cloth covered clasped case with broken hinges. I have relied upon the extensive research done by Thomas Ebrey in his paper on the bibliography of the TEN BAMBOO STUDIO, comparing page borders, etc.. Very good color and good condition, early impressions on very thin and strong paper. One closed tear of a print, a bit of worming. 


The collation of editions of the TEN BAMBOO HALL is extraordinarily difficult even for the Chinese editions. [See Paine's article in the ARCHIVES OF THE CHINESE ART SOCIETY OF AMERICA, 1951 and Thomas Ebrey "The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting" in Princeton University's The East Asian Library Journal 14, no. 1 (2010): 1-119] and Japanese editions are even less explored. This Japanese edition of the The TEN BAMBOO HALL is interesting for its effort to capture the delicate colors and quiet beauty of "Chinese style" as seen from Japanese eyes. A very lovely set.

$4,500.00

 

 

 

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33.[EHON ALBUM] Fukui Gessai, after Ogata Kôrin. KÔRIN GAFU 2 vols. Ôsaka, Aoki Susandô, Meiji 26, 27 [1893,4]. Folding albums, 27.8 x 21.3 cm. A total of 24 full-page color-printed images after paintings by Ogata Kôrin. The covers are woodblock printed as well. Complete and in very good condition. Kôrin and the Rimpa style in general was undergoing a grand revival in late 19th, early 20th century Japan.

SOLD

 

 

 

 

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34.[EHON] Asai Chû, artist. TOSEI FUZOKU GOJU-BAN UTA-AWASE. [Modern Customs in a Comparison of 50 Pairs of Poems]. Tokyo: Yoshikawa Hanshichi, Meiji 40 [1907] 2 vols., 24.7 x 18.4 cm. 50 pairs of caricatures, with accompanying poems, all in color woodcut. This is a copy of the first edition, which preceded the Unsôdô of Kyoto reprint from the original blocks. It includes the original fukuro dustwrapper and the original printed publisher's box, all in a later protective chitsu clasped case. Asai Chû (1856-1907) was one of the two (with Kuroda Seiki) most important oil painters of late Meiji era Japan. This work is in his "Haiga" literati mode and represents his most important foray into book illustration. Ref: Mitchell, p.534. a perfect copy of this important book, as issued. Complete.

$2,850.00

 

 

 

 

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

$850.00 

 

 

 

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36.[EHON] Kawanabe GYOSAI, artist. Tsuuzoku ISOPPU MONOGATARI. Tokyo & Numazu, Meiji 5 & 6 [1872,3]. 6 volumes. Hanshibon, 22.5 x 15 cm. Blindstamped patterned yellow paper covers, string-bound Japanese- style, fukuro-toji. The interesting and now scarce translation of Aesop's Fables into Japanese by Watabe Godô from the English version of Thomas James. Illustrated throughout in b+w (with some use of grey scale and colored blocks, as well) woodcuts, mostly by the famed artist Kawanabe Gyôsai. The illustrations are largely based on the English original, though a few are original to the Japanese edition. Fujisawa Bainan and an artist named Kôson (Oshima Kôson? Sakaki Kôson?). For more on this work, see Scott Johnson's article, "The Illustrations for a Victorian Aesop and a Meiji Isoppu", 1983, Kansai University. Good impressions, very good condition. Early copies with the added blocks are very unusual. Complete.
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37.[EHON] Kôno BAIREI, artist. BAIREI KACHO GAFU 2 vols. Tokyo: Okura Shoten, Meiji 32 [1899]. Large format books of ôban-size color woodcut images, each sealed "Bairei." 37 x 25 cm (24 1/2 by 9 3/4 inches). Each of the volumes is comprised of 25 images, for a total of 50, that show birds throughout the changing seasons (vol. 1: Spring & Summer, vol. 2: Fall & Winter). The designs are fresh and lively - perhaps the finest of the large-format bird compilations of mid to late Meiji era Japan, and certainly the scarcest. This copy, a very good printing with lovely colors, has just a bit of soiling to the covers. Mitchell 217 references this printing (seen by him) as a re-issue of the Okura edition of 1883. Both issues are very unusual. Complete in a custom clasped chitsu case.
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38.[EHON] Ôishi Matora, artist. SOGA HYAKUBUTSU Jô Ge. 2 vols 22.3 x 16 cm, String-bound, Japanese-style, fukuro-toji. In original blue and white patterned covers, printed paper title label. Osaka: Bunkaidô, Tsurugaya Kuhei, Tempô 3 [1832]. [Brown, p.110; Ryerson, 391] The Mitchell copy at p.496 was bound in two volumes, as is this copy. In any event, our copy is complete with the inner front cover preface sheet, all the illustrations and the colophon. Hillier appreciates this little-known work (THE ART.... p.794) and so do we.... from beginning to end a wonderful collection of free and vibrant genre scenes. With the original title labels and covers. The lower half of the outside printed cover overlay is torn away, else very good condition, and printing. Ôishi Matora is an underappreciated artist, a master of many styles.

$1,500.00 

 

 

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39.[EHON]. SHUNSUI GAFU Kan. Tôkyô, Taiyôdô, Meiji 32 [1899]. Tall orihon, 29.3 x 15.7 cm. Original covers and printed paper title label. 12 full page color woodblock illustrations. Delicate and lovely literati-style paintings. Nicely printed, in very good, very clean condition, complete. Unusual item - not in Mitchell or other standard references, though I did locate a copy in the library at Ikeda City, outside Ôsaka.

SOLD

 

 

 

 

 

 
 

 

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40. [EHON] Tanaka YUHô, artist. YUHO BIJUTSU OYO, 2 volumes (The volumes are numbered one and two, appear to be all published.) The original edition, published in Meiji 23 (1890) which was later reprinted by Yamada Unsôdô in 1903. 9 3/8 x 6 5/8inches. String- bound Japanese style, fukuro toji, with the original printed title labels. Very good condition. Woodcuts in sumi and light colors. In the emerging Nihonga style of the turn of the 20th century, with a few decorative motives amidst mostly genre and landscape scenes. Interesting and unusual work.
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41.[EHON] TANOMURA Chokunyû, editor and artist. KYÛKO SANSEN 2 vols.Ôsaka, Meiji 23 [1890]. 2 vols. Original covers, chitsu and printed paper title labels. Includes prefatory material inscribing calligraphy by such famous artists as Tomioka Tessai, among others. Tanomura Chokunyû, the heir of Tanomura Chikuden, was a master in his own right, a late but brilliant practitioner of the literati style of painting. Here he has copied the work of a number of literati painters from the past, both Chinese and Japanese. There are brief biographical notes on the artists and the b+w sumi woodblock prints are quite lovely. An unusual book which matches the extensive description of a copy in Mitchell's collection, Mitchell page 402. Complete. A bit of worming at the end of vol. 1, otherwise very good.

$750.00

 

 

 

 

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42.[EHON] Totoya Hokkei, artist. HOKURI JÛNIJI. No Colophon, Bunka era (1804-1818), 26.4 cm X 17.8 cm, original blue covers, string-bound Japanese- style fukuro toji, original printed paper title label. Covers worn, some internal worming. Overall condition good, printing good or better.
 
 
A very important book, very early for Hokkei. A landmark in the publication of appreciations of the new Yoshiwara district in Edo - here presented in Ishikawa Masamochi's elegant prose and 12 sumi-e woodblock Hokkei illustrations, delineating the 12 hours of the day in the district. Complete.
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43.[EHON] Tsukioka Settei (1710-86). ONNA BUYÛ YOSO-OI KURABE. Edo: Suharaya Mohei & Osaka: Onogi Ichibei, Meiwa 3 [1766]. Three volumes, string-bound Japanese-style in worn original covers with brushed titles. 26.8x18 cm. Complete. This copy bears the alternative title: EHON SAGASHIGUSA. Settei here signs himself Tsukioka Masanobu. One of the finest and most powerful of the mid-18th century ukiyo-e masters. The line is virile, the compositions daring, and the subject - of brave and powerful women in history - compelling. It is a thoroughly satisfying work. The first printing was issued in Hôreki 6 [1757], but this copy is very well printed. And it is a very scarce work in either edition - few copies are located in KSSM. Any works by Settei are unusual, this one even more so. (Toda/Ryerson p.331, Brown p.67, Hillier pp251, 285-7). With some slight repaired worming, in good condition overall.

$4,250.00

 

 

 

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44.[EHON] Tsukioka Tange [SETTEI], artist. EHON TATSUTA-YAMAÔsaka & Edo, Hôreki 3 [1753]. According to the British Museum, the TATSUTAYAMA is Settei's earliest dated work of book illustration. His ladies are graceful and supple though a bit less willowy than Harunobu's, his line delicate and composition effective. Settei's works, though popular in his day, have not survived in great numbers. This copy is bound three volumes in one in the original covers, with a brushed title directly on the front cover. The condition overall is good, the impressions good. Very unusual book.

$2,400.00

 

 

 

 

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45.[EHON] Wang Kai, et al. KAISHIEN GADEN. Kyoto, 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 (shû) 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 all three series 5 years earlier. One of the earliest examples of color printing in Japan. This copy is extraordinarily clean throughout. 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 identical blind-stamped dragon pattern on the grey green covers throughout and the same initial 7 sheets as the NYPL example in volume one, and two page table of contents for volume one. The NYPL version then has the volume two (?) 2 pp contents pages inserted, which ours has in the correct spot in volume two. Again both sets follow along for the following 21 sheets of text but then the NYPL volume is missing sheets 22 through 27. Volume two is identical in the two versions. In volume three, identical. Volumes 4 and 5 have the same contents in both examples. Also, these last two are the volumes with color illustrations and our colors are employed with very little bokashi shading and a much milder palette was used. Not all seals are the same. Overall, the NYPL copy appears to have earlier, better impressions, though ours are quite good overall. Ours does not attribute the booksellers who handled the book. It would seem that Harvard/Yenching library has a single volume of the GARDEN, published by Yoshida Kanbei in Kansei 12 [1800]. I would assume our example was issued some time at the end of the 18th century before the Bunka era editions appeared in Kyôto.. It should also be noted that this copy is printed on quite heavy "Japanese-style" paper rather than the usual thin "tôshi" employed when printing Japanese versions of Chinese publications.

 
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 contact as Chinese painters and printed painting manuals were absorbed into the Japanese art world.

$7,500.00 

 

 

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46.[EHON] Yosa BUSON. HAIKAI SANJÛ-ROKKASEN. Original printed decorated covers with an image of a deer and reeds. Buff covers, string-bound Japanese-style, fukuro-toji. Printed paper title label. 28.8 X 19.8 cm. Resembles Mitchell's "B" (pp.281-282). The colophon is dated Kansei 11 [1799] and lists Noda Jihei of Kyoto and Kawashiya Tasuke & Shioya Chubei of Osaka as publishers. Unlike the "A" and "B" Mitchell examples, however, this copy is neither all in sumi nor is it handcolored. rather it is block printed in delicate colors. Plus, it has a supplementary colophon which indicates this was actually printed by the important printer/publisher of Tôkyô, Kanao Bun'endô in Meiji 39 [1906]. Close comparison with an actual first printing indicates this may well have been printed from the same blocks. Very interesting.

SOLD

 

 

 

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47.[EMAKI, PRINTED] Tsuruoka ROSUI. SUMIDAGAWA RYÔGAN ICHIRAN. 2 woodblock printed scrolls. Temmei Gannen [1781]. A series of views of the banks of the Sumida which was clearly an inspiration for Hokusai's later ehon of the same name. Wonderfully well-printed and hand-colored. A very rare and beautiful work of great verve and skill. A "married set" from two different sources. Volume one depicts the east bank of the river from the bay to its headwaters, and volume two the west bank ending at Shinagawa with a view of Fuji. The depiction of the Ryôgoku Bridge is particularly well-known and admired. The printed portions of volume one is about 27.7 cm high and 8.13 meters long, volume two is about 25.5 cm high and 12.73 meters long. So, not counting the covers and preliminary and final runout, almost 21 meters long in all. The restored set has new matching brocade covers and is enclosed in a new wooden box and outer protective box as well. Our copy is bright, clean, and free of worming - an important masterpiece. Virtually unknown outside of Japan, (there appears to be a copy in the Smithsonian and at least a copy of volume one in the MFA, Boston), it does not appear in Ryerson, Hillier, Dawes or Brown. Even within Japan, not a common work, the KSSM locates only four copies.

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48.[EPHEMERA - Matchbox and Matchbook Covers]. A COLLECTION OF OVER 950 JAPANESE MATCHBOX COVERS from both the pre- and postwar period mounted in one scrapbook. They are are clipped matchbox covers from the preWar era - cafe culture at its finest on display. These covers offer a display of Japanese graphic design in miniature. The designs are largely in the Deco design idiom and advertise everything but mostly hotels, cafes and tearooms. The designs are strong; the best of which give an impression of size belying their small scale.

SOLD

 

 

 

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49.[FLOWER ARRANGING]. Ikenobô RIKKA HYAKUHEIZU 2 vols. Kyôto, Metogiya Kanbei, N.D. [c. middle third of the 18th century]. Large woodblock printed studies of 100 flower arrangements in pots. Hand-colored by a skillful hand, probably soon after publication. String-bound Japanese-style, fukuro-toji, original covers and printed paper title labels. 30.5 x 23.1 cm. Designs selected by Ikenobô Senkô, edited by Ikai Sanzaemon. There are 98 (of 100) wonderful flower arrangements, one to a page, thus incomplete and priced accordingly. Each design is attributed to an ikebana master. A bit of soiling and wear throughout, with some worming to the margins, but overall a good copy in the original covers, with the title labels in a clasped chitsu case.

SOLD

 

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

 

$750.00

 

 

 

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51.[HANGING SCROLL] Watanabe Seitei, artist. SCROLL OF A SPARROW IN FLIGHT. Signed and sealed by Watanabe Seitei (1851 - 1918). After studying under Kikuchi Yôsai and Shibata Zeshin in his youth, he traveled to Europe in 1878. One of the early practitioners of the "Nihonga" style of Western-influenced traditional painting. He is primarily known for his work with Bird and Flower subjects, which he revolutionized with his delicate and playful ability to capture the reality of color, plumage, etc. The image size of this painting is 117 x 31.5 cm., mounted on brocade, with bamboo jiku handles. Includes the Meiji era wooden box. Overall good condition, with some slight wrinkling.

$1,200.00

 

 

 

 

 

 

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52.[JAPANESE WOMAN POET] ISHIZUKA Kurako, author. [EHON]MURO NO YASHIMA. n.p.[Edo, Nishimura Genroku], Hôreki 6 [1756] 10 vols in 5. 22.6 x 16.0 cm. String-bound, Japanese-style, fukuro-toji. 4 oif the five volumes have their original printed paper title labels, all in original covers. Volume one has an English language label (late 19th, early 20th century?). Illustrated with 42 single page sumi-e Chinese-style woodblock prints. A number of them are by the important prodigy, Kurokawa Kigyoku, an important (male) student of Shen Nan-pin. Kigyoku died that very year of 1756 at the age of 24, rendering his much sought-after works a rarity. The second artist appears to have been a woman named Sakura Mikako. Ishizuka Kurako herself was a very well regarded poet of the age, who would die two years later in her mid 70s. Several books have been written on Ishizuka, as, though the Heian period was famous for its female literary figures, by the time of the Tokugawa, a lady poet, especially a published and famous one, was by no means common, to say nothing of the female illustrator, as well. The publisher, Nishimura Genroku, had produced the very rare and sought after first printing of the color-printed MINCHO SHIKEN. They were quite familiar with the Nagasaki school artists, influenced by China, which probably accounts for the participation of Kigyoku. In any event, our copy of this very scarce book (fewer than 6 complete copies appear in Japan and none, it seems, abroad) is in a very early printing. Aside from some light water-staining and a bit of worming, very good condition overall. A significant and interesting book for any number of reasons.

 

SOLD

 

 

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53.KAIBARA Ekiken. WASHU YOSHINOYAMA SHOKEIZU. Kyoto, the preface is dated 1713. 30.8 x 16.9 cm. This visual and literary view of the Yoshino mountain area outside Kyoto, famous for its cherry blossoms, is wonderfully hand-colored. The 16 pages of images are followed by 17 pages of text, describing the history and current conditions of the area. A bit of marginal worming, else very good in its original covers and title slip. In a vintage wooden box. Uncommon.

$8,750.00

 

 

 

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54.[KAKEMONO] Kamisaka SEKKA, artist. A BOATMAN. Hanging scroll, image size 138.8 X 27.6 cm. Beautifully mounted. Wooden scroll box. The painting is signed and sealed by Sekka (1866-1942), the foremost master of Rimpa painting in the 20th Century in Japan. Sekka's boatman depicted here is encountered often in his oeuvre. A wonderful, lively and well-brushed rendition. Neo-Rimpa at its best.

$6,000.00

 

 

 

 

 

 

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55. KAWASAKI Kyosen. OMOCHA GAFU 10 vols. Ôsaka, Shôwa 7-10 [1932- 5]. Each volume with printed paper title label, string-bound Japanese-style fukuro-toji. Complete set of this illustrated guide to Japanese playthings. Each 23.6 x 16.5 cm volume has 4 full page color woodblock-printed plates and one folding double-size woodblock print, hence 50 in all. Then the scholarly text in Japanese is heavily illustrated in b+w. Wonderful set, in many ways more informative than the UNAI NO TOMO set. The 10 volumes are in fine condition in a chitsu clasped case. Very unusual.

$3,250.00

 

 

 

 

 

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

$285.00 

 

 

 

 

 

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

$750.00

 

 

 

 

 

 

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

$485.00

 

 

 

 

 

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

$950.00

 

 

 

 

 

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60. KITASONO Katue, poet. SABOTEN-TO. Tôkyô, Aoi Shobô, Shôwa 13 [1938] Slender 8vo., one of 170 copies printed. This copy has the signature of Kitasono. Done in combination with the great artist and poet, Onchi Kôshirô, Kitasono has created here the most interesting expression of his "plastic poetry". The binding, the dustcover, the typography, the textual ornaments, all combine as a fluid visual container for Kitasono's brilliant poems. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Fine condition, complete as issued.

$4,750.00 

 

 

 

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

$3,600.00 

 

 

 

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

$950.00
 

 

 

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

$3,600.00 

 

 

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64.[MATERIA MEDICA] Li Shizhen; translated by Suzuki Masaumi, et al.. Shinchû Kôtei KOKUYAKU HONSÔ KÔMOKU. Shunyôdô, Tôkyô, Shôwa 48 [1973] 15 volumes, bound Western-style in decorated cloth over boards, slipcases. The late 16th century Chinese materia medica, Honzô Kômoku, was imported into Japan by the early 17th century. The first japanese edition appeared in 1637, the definitive enlarged Japanese edition in 1714, with native japanese plants added. The Edo era versions were printed in classical Chinese with diacritical marks (kanbun) to aid the Japanese reader. This set at hand was translated into modern postwar Japanese and is thus useful to a contemporary Japanese audience. One of the most important guides to the medicinal uses of plants in East Asia. It should be noted that the binding decorations are after designs by the famous artist Tsuda Seifû, here still in excellent, clean condition. Complete.

$750.00 

 

 

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65. [MEISHO-KI] Nagakubo SEKISUI, author. TÔÔKIKÔ. Ôsaka & Edo, Kansei 4 [1792]. 26.3 x 18.3 cm. String-bound, Japanese-style, fukuro-toji, printeed paper title label. An illustrated record of travels to the far northeast of Japan, conducted in the late 18th century. Excellent condition, very good b+w illustrations. Many copies are located in Japan in the KSSM, but there is no notice of the book outside of Japan. Sekisui [1717-1801] was a very well known Confucian scholar, artist and geographer responsible for creating many maps of Japan.

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

$475.00 
 

 

 

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67. [MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, poet and artist. KAENAI KIMONO, Tôkyô, Seiensô. Shôwa 36 [1961]. one of 200 copies, signed by Wakayama. Small western-bound full leather volume of poems, illustrated by Wakayama in his own technique of stencil art, named kôhan. 10.5 x 9 cm. There is an inset kôhan illustration on the front board and there are 15 pages of illustrations, each facing a kôhan printed poem by Wakayama. The fine art printmaking technique of kôhan was developed in 1941 by Wakayama [1903-83], a close associate of Onchi Kôshirô. He was an enormously prolific single sheet printmaker using color woodblock and kôhan, but this charming little volume is one of his scarce and wonderful artist' books. It is in excellent condition throughout, in the original decorative box and the outer publisher's shipping box, as well.

$650.00 
 

 

 

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68. [MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, poet and artist. MAHÔ NO TORI. Tôkyô, Seiensô. N.D [1966?]. #6 of 80 copies, signed of 180 copies, total. Small western-bound half leather and printed sheet styrofoam? volume, illustrated by Wakayama in his own technique of stencil art, named kôhan. 16 x 12.2 cm. The fine art printmaking technique of kôhan was developed in 1941 by Wakayama [1903-83], a close associate of Onchi Kôshirô. He was an enormously prolific single sheet printmaker using color woodblock and kôhan, but this charming little volume is one of his scarce and wonderful artist' books. Much like Takei Takeo, Wakayama appears to have been fascinated by the artistic potential of contemporary industrial materials. Here he has turned to printing using images stencilled via a mimeograph process onto sheets of a styrofoam-like material. The condition of this ultralight and delicate book is excellent, but the images and printed text have suffered from transfer effects, illustrating that not all radical experiments end happily. Still interesting, in the original styrofoam box and cardboard outer shipping box.

$450.00
 

 

 

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69. [MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, poet and artist. Bôchû Kanpon Sono ichi, GIN NO SHIMA Chizu Hensenki. Tôkyô, Seiensô. Shôwa 45 [1970]. #2 of 150 copies, signed by Wakayama and inscribed by him to an individual as "the author",as well. Small western-bound quarter leather and printed paper volume, illustrated by Wakayama in his own technique of stencil art, named kôhan. 12.3 x 13.4 cm. The fine art printmaking technique of kôhan was developed in 1941 by Wakayama [1903-83], a close associate of Onchi Kôshirô. He was an enormously prolific single sheet printmaker using color woodblock and kôhan, but this charming little volume is one of his scarce and wonderful artist' books. The first of the series, roughly translated as "Books done for fun during a hectic life" It explores the 16th century as foreigners drew close to Japan, the silver islands, in their efforts to complete the map of the world. It is in excellent condition throughout, in the original decorative box and the outer publisher's shipping box, as well.

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70. Okamoto Ippei, Maekawa Sempan, Hiratsuka Un'ichi, et al. TÔKAIDÔ GOJÛSAN-SUGI MANGA EMAKI. Jô Ge. Two scrolls, each over 30 feet long and 10" high. The scroll set was done in some 250 to 300 copies by 18 members of the Tokyo Manga Association, each set hand- painted. It would appear that the trip upon which the set was based took place in 1920-21 and the paintings must have been finished soon after. The inventory of artists involved include some famous names: Mizushima Nihou, Kondô Koichiro, Ippei, Sempan & Un'ichi, among others. The Great Earthquake must have destroyed quite a few and the war many more. Now the set appears infrequently in the market. Our copy is very clean and quite well painted. A very nice example of this genre of hand-painted multiples. In the original inscribed wooden box.

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

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72.ONCHI KOSHIRO, artist. CHU.GYO.KAI. 26.6 X 20.8 cm. #158 of 250cc. Aoi Shobô. A wonderful Onchi cover and 10 prints inside, illustrating his poem fragments. The combination of the abstract and the figurative is lovely and moving. Published during the war Showa 18 - 1943) in Tokyo, as part of the series SHOSO HANGACHO JURENSHU, it is very hard to find. This is a a clean, very good copy. Includes the original announcement for the JURENSHU series as published in one of the SHOSÔ magazine pamphlets. In a custom clasped chitsu case.

$4,500.00

 

 

 

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73. ONCHI Kôshiro, author & artist. UMI NO HYOJO. Tokyo, WKO Hanga Kenkyûsho, 1987. #9 of 20cc,, 42.7 x 37 cm. Portfolio of 17 prints and 20 poems on the topic "EXPRESSIONS OF THE SEA". Onchi Kôshiro had designed this album during the war, but when he attempted to get it published after the war's end, had no luck and abandoned the project. A few images from the carved blocks were pulled as an experiment and one, UMI NO MIERU MADO, appears in the British Museum collection with an interesting explanation. (See the description on their website.) In any event, long after his father's death, Onchi Kunio resurrected the project and printed the work in nearly complete form, as only 3 prints had remained unfinished. "Modern" as it is, its tiny limitation guarantees its place as one of the greatest rarities of the Onchi oeuvre. In fine condition, in portfolio with a tan cloth covered clamshell case. In the original publisher's cardboard box.

$6,500.00

 

 

 

 

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

$1,850.00

 

 

 

 

 

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75. ONCHI Kôshiro. HAKUBUTSUSHI Zuihitsu Shashin. Tokyo, Genkôsha, Shôwa 17 [1942], 1 of 1500cc, Cloth, printed in silver ink, 27.0 x 19.4 cm. Very unusual work by Onchi, combining his written thought on natural forms with reproductions of his photography (depicting plants, insects, animals). Interesting, scarce. here internally very good, but without its dustwrapper or slipcase with a worn and soiled cover and priced accordingly. [Urawa, p.51]

$425.00

 

 

 

 

 

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

 

$985.00
 

 

 

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

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

$3,250.00 
 

 

 

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

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80.[POETRY]. NATSU KODACHI-SHÛ. Kyôto, Kôka 3 [1846], Chôundô, a lovely oblong string-bound album with the original blind-stamped green covers and printed paper title label, all in a clasped chitsu case. 17.1 x 23.7 cm. The title refers to a famous line from a Bashôhaiku describing a "summer's grove". There is but one delicate color-printed illustration, of a bird in flight, but many pages of white on black ishizuri style calligraphy and delicate renderings of the poems in an elegant calligraphed hand. A deluxe production emblematic of the level of sophistication achieved by the publishing industry in Japan even in late Edo. Very unusual - in none of the standard references.

$1500.00 

 

 

 

 

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81.[PREWAR ARCHITECTURE] TAKASUGI Mikitarô, editor. JUTAKU KENCHIKU Kenshô Sekkei Zuanshû. Tôkyô, Kenchiku Gakkai, Shôwa 9. 8vo., printed wrappers. This book of award-winning designs for domestic architecture has forty plus pages of designs and projections. Very good condition.

$165.00
 

 

 

 

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82. [PRINT ALBUM] Takeuchi SEIHÔSEIHÔ IPPINSHÛ. Kyoto & Tokyo, Unsôdô, Shôwa 12 - 14 [1937 - 9]. 53.2 cm x 42.7 cm. The first series, complete with all 31 prints which were issued in two formats: (1) ten paper fascicules and also (2) tassel-bound by the publisher in brocade covers in book form. Our copy in the latter book form retains the original printed title label ["SEIHO'S MASTERWORKS"], with new brocade covers. In his catalogue of the recent NYPL ehon exhibition, Roger Keyes devotes quite a bit of attention to this work, which he quotes Jack Hillier as naming "one of the most magnificent printing achievements of the twentieth century." Most sets were destroyed, as were the blocks, when the printer's studio in Tokyo burned during the war, making the IPPINSHÛ very nearly a lost masterpiece complete. Given the circumstances of its creation and destruction, it is assumed that there was but one printing.

There are 18 woodcuts, double oban in size, as well as 13 other prints done in collotype, lithography and experimental combinations - all the most advanced techniques of the time are lovingly employed to capture Seihô's art. Though the interleaved tissue is occasionally browned and stained, the prints themselves are for the most part bright and clean, without the foxing usually found with this work. A very important collection and a rarity, complete.

$16,000.00

 

 

 

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83. [SIBERIAN EXPEDITION]. Teikoku Gunjin Kyôku-kai, editors. SHIBERI JIHEN KINEN SHASHIN-CHÔ. Tôkyô, Taishô Tsûshinsha, Taishô7 [1918] Oblong folio, bound western-style in cloth, gilt. Illustrated throughout in collotype. Photos and cations on the International Siberian Expedition in support of the Whites against the Red Army, in which the Japanese played a prominent role. 4 page folding panorama of Vladivostok harbor and views of the cities, the countryside, troops, inhabitants, diplomats, war preparations, etc., etc. One can feel the Winter coming... Very good condition throughout. Very scarce.

$1,850.00

 

 

 

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84. [SINO-JAPANESE PRINTING] Editor: Pu Guo. YING SONG CHAO HUI DU ER YA. Kanpan: Bunsei 12 [1829]. 3 vols., complete, in original covers, vols. 2 and 3 have parts of the original title labels. 35.6 x 25.6 cm. String-bound, Japanese-style, fukuro-toji. This work, one of the original Classics in China (the Er-ya), was illustrated and glossed by the scholar Guo Pu (276-324 AD) and was printed during the Sung Dynasty in the 12th century. A copy of the work was used as the basis for a facsimile that was printed in China in 1801. This is the Japanese edition of the work, which appeared in 1829 as a government (Bakufu) publication. An excellent job of printing, capturing the elegance of the original Chinese edition. An excellent printing throughout. Unusual.

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85. [SKETCHTOUR GENRE] Otani Sonyû & Iguchi Kashû, artists. TOKAIDO GOJUSAN-TSUGI EMAKI Kyoto Taisho 11 [1922].Eight handscrolls with woodcut coloring over collotype, complete. The scrolls have bone jiku with brocade covers and sumi over gold title labels. Artists' signatures, Otani Sonyû and Iguchi Kashû, with accompanying seals, dated August of Taisho 8 (1919) and identified as a "collaborative handscroll."

Inscription printed in English: "A great Highway is an Artery through which pulses the Life-blood of a Nation, Taisho 8.9.19 Frederick Starr." Frederick Starr is, of course, associated with the sketchtour movement.

Colophon: Endnote. Date of publication Jan. 15, Taisho 11 (1922). Price: ¥500. Artists: Otani Sonyû and Iguchi Kashû. Publisher: Nakamura Taikan. Printer: Motohashi Sadajirô. Publishing House: Nihon Taikan-sha.

It goes without saying that the price of 500 yen (at the time worth about US$200 in gold), a shocking amount, was reflective of the enormous costs associated with the project. The use of collotype as the "shita-e", then over-printing with heavy opaque mineral pigments time and again to derive the rich palette of the finished scrolls was not a method conducive to economy. The publisher went bankrupt soon after the appearance of the Tokaido set. One can only assume that the Kanto earthquake destroyed most of the sets that had been sold to the main market, Tokyo. Research indicates that there are very few sets in existence. Our copy is enclosed in its original black lacquer box, gilt with the title and is complete as such in a protective outer box. The lacquer box is perfect and the scrolls are in fine condition, with very occasional minor foxing. Literally hundreds of feet of remarkable images. (See Roger Keyes' extensive description of this major discovery in his catalogue of the recent NYPL exhibition of EHON.)

$27,500.00 

 

 

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86. [SOSAKU HANGA] KAWAKAMI Sumio. RANPU [LAMP]. Tôkyô, Aoi Shobô, Shôwa 15 [1940]. #152 of 250 copies, brush-signed by Kawakami (1895-1972). 28.2 x 20.0 cm String-bound Japanese-style, fukuro- toji. Illustrated throughout in color woodblock, the covers and wraparound are also color printed woodblock prints. With the original printed title label. About fine condition throughout. Perhaps the most iconic of all the many ehon produced by Kawakami, who, along with Onchi and Taninaka, is probably among the most important of all the "Creative Print Movement" artists (apologies to Hiratsuka, Ishii, Munakata, Kawanishi, etc., etc.). A very nice copy of a very delightful book. The fanciful scenes of a vividly remembered late Meiji childhood are wonderful.

$3,250.00

 

 

 

 

 

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87.[STENCIL] Serizawa Keisuke, artist. CALENDAR 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984 8 sets. [Japan] 38.8 x 29.5 cm. The series of calendar portfolios, with a color stencilled print for each month, began in 1946. These are the last 8 portfolios printed during Serizawa's lifetime, each with 12 ôban size prints, a total of 96 prints in all. They are lovely, in bold colors, done in Serizawa's inimitable style. In fine condition in the original Japanese handmade paper portfolio covers with stencil-printed title labels.

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88.TAITÔ II, et al. EHON SAIYÛKI 40 volumes. Hanshibon size 21.8 x 15.2 cm. Original printed paper covers and remains of printed title labels, string-bound, Japanese-style fukuro-toji. The first series of 10 volumes was illustrated by Ôhara Higashino, the second series by Utagawa Toyohiro and series three and four by the Hokusai follower Taitô II, who was so skillful in his emulation (some would say forgery) that his work was often misattributed to the master, a confusion abetted by his occasionally signing Hokusai's name to his own work. That said the illustrations of the twenty volumes of parts three and four are remarkable and doubtless represent some of the best work Taitô II ever did, at its best as good as any work done by Hokusai in the yomihon (story illustration) genre. In our set, series one was published in Bunka 3 [1806], the second series in Tempô 14 [1843], the third in Tempô 6 [1837] and the fourth (and last) series in Tempô8 [1839].


SAIYÛKI, or Journey to the West, was originally written as a popular tale during the Chinese Ming Dynasty in the 16th century. By the 19th century, the story of the Chinese monk who journeyed to India to bring back relics and scriptures to China, aided by the Monkey King and his two magical assistants, had been translated into Japanese and found a ready audience. The forty volumes here presented have the quality of a blockbuster movie - the images, particularly the Taitô II efforts, are sweeping in scale - bold, full of monsters and demons, feats of derring-do and magic. May I recommend a dark and stormy night, a flickering candle or two and ready access to Arthur Waley's admittedly abbreviated translation of Journey to the West to get the sense of the action as it unfolds.

This set is occasionally found as a scattered volume or two - it is very unusual to find all forty volumes in decent condition and printing. A fun insight into popular reading and entertainment in late Edo. In four clasped chitsu cases.

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

$6,500.00 

 

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

$650.00  

 
 

 

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

                                   

$1,250.00 

 

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92. [EMAKI - IKEBANA] IKENOBO SCHOOL. MID TO LATE 18TH CENTURY SCROLL OF FLOWER ARRANGEMENTS. Handscroll, bound in brocade, approximately 15 inches tall and over 30 feet long - with 20 hand-painted ikenobo style arrangements in all. Undated with no text whatsoever, but most probably a mid-Edo production. The cover is quite worn, but the images are clean and bright and very well painted. A lovely example of the Ikenobo style surviving and flourishing even as simpler styles like nageire developed. Skillfully painted scrolls like the one at hand are by no means common.

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