A COLLECTION OF
JAPANESE ILLUSTRATED BOOKS

AN EXHIBITION

 

JAPANESE DESIGN 1885 – 1940

Part One:

The Kyôto Schools of Design,

Bird and Flower Books and Zuanchô in Late Meiji

Part Two:

Hybrid Painting, Commercial and Advertising Art, Posters.

 

 

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There are many roads that carried the freight of transition from the traditional to the contemporary in Japanese design. We are initially going to focus on just two….

The Bird and Flower genre.....

The history of bird and flower art in East Asia is an ancient one, going back at least 1300 years or more to the T'ang Dynasty in China. By the time the Tokugawa clan took power in Japan at the beginning of the 17th century, the bird and flower genre was long-established there, domesticated from China for centuries and full of creative power and traditional coda. Artists from every school participated in the naturalistic desire to imitate nature… Rimpa, Kanô, even Ukiyoe… There was both a literary/cultural and scientific interest in the naturalism of "kachô" (bird and flower) art and many classical ehon picture books of every school delved into the birds and flowers. Utamaro, Keisai Masayoshi, Soken, Hokusai himself - they all created masterpieces of the genre. By the time the interest in Western knowledge and science had accelerated at the end of the old regime and into the new era of Meiji westernizing Japan, another wave of bird and flower prints and books flourished via the medium of a reinvigorated woodblock printing industry able again to produce beautiful and realistic color images of birds, of flowers, of nature in general.

The first example from our inventory from the Meiji renaissance of bird and flower books is the true first edition of Kôno Bairei's wonderful two volume BAIREI KACHÔ GAFU. Done in mid-Meiji, then redone in 1899 the second edition has quite a different feel to the presentation as the ornate borders and cartouche descriptions of the first printing were removed from the blocks. The two editions present a useful and interesting example of the changes in Meiji aesthetic over time. Bairei [1844-95] was born early enough that his education as an artist spanned the traditional Maruyama-Shijo and Ukiyo-e schools. His influence was felt broadly as his students included such later masters as Takeuchi Seihô, Kawai Gyokudo and Uemura Shôen. We have both editions of his large print set on birds and flowers, as well as a complete 6 volume set of his small format bird and flower books from 1881-4, the BAIREI HYAKUCHÔ GAFU and the BAIREI HYAKUCHÔ GAFU Zokuhen.

87442.[EHON] Kôno BAIREI, artist. BAIREI KACHÔ GAFU 2 vols. Tôkyô: Ôkura Magobei, Meiji 16 [1883]. 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 is a copy of the true first edition, done sixteen years before the more well known reprint of 1899. The "feel" of the prints is much different than the later version, as it has decorated margins and captioned cartouches in the field. A very good and very early printing with lovely colors, quite clean. Mitchell 217 references the 1899 printing, having never seen this one, it would appear. Complete, in a hinged cloth case.

 

SOLD

 

87374.[EHON] Kôno BAIREI, artist. BAIREI KACHÔ GAFU 2 vols. Tôkyô: Ôkura 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, is very clean. Mitchell 217 references this printing (seen by him) as a re-issue of the Ôkura edition of 1883. Both issues are very unusual. Complete, with the original printed fukuro dust-covers.

$6,850.00

 

 

 

87502.[Ehon] Kôno Bairei, artist. BAIREI HYAKUCHÔ GAFU [BAIREI'S SKETCHBOOK OF 100 BIRDS] 3 vols. Tôkyô: Ôkura Magobei, Meiji 14 [1881]. Beige printed covers with red paper labels. 24.8 x 16.5 cm. Vol. 1: 29 single-page and 7 double-page color illustrations of birds; Vol. 2: 22 single-page and 11 double-page illustrations; Vol. 3: 19 single-page and 12 double-page illustrations, for a total of 70 single-page and 30 double-page prints. Complete as issued. This copy of Bairei's classic is in near-fine condition, with good impressions and colors. Sealed throughout. (Mitchell, p. 216; Brown, p. 199; Ryerson, p. 426).

SOLD

 

 

 

 

87501.[Ehon] Kôno Bairei, artist. BAIREI HYAKUCHÔ GAFU Zokuhen [BAIREI'S SKETCHBOOK OF 100 BIRDS - Continued] 3 vols. Tôkyô: Ôkura Magobei, Meiji 17 [1884]. Beige printed covers with red paper labels. 24.8 x 16.5 cm. Vol. 1: 18 single-page and 13 double-page color illustrations of birds; Vol. 2: 10 single-page and 17 double-page illustrations; Vol. 3: 9 single-page and 17 double-page illustrations, for a total of 37 single-page and 47 double-page prints. Complete as issued. Save some staining on the margins of a few pages in volume 1, this copy of Bairei's classic is in very good condition, with very good impressions and colors. Sealed throughout. (Mitchell, p. 216; Brown, p. 199; Ryerson p. 426).

SOLD 

 

 

 

Bairei also designed many other books, as well, including such "classic" ehon as INAKA NO TSUKI and botanicals like CHIGUSA NO HANA.

 

 

There was also an effort to bring back older bird and flower designs from the Edo period (here the later Edo period, as it happens). Woodblock cutting and printing had gone through a nadir in the 1860s and into the 1870s, so when the woodblock printing industry started to recover in the 1880s [Mid-Meiji], publishers like Hakubunsha turned to older material to fit a new audience with an interest in large, bold designs of naturalistic subjects. One of the most striking is the Shasei SHIJÛ-HACHI TAKA GAJÔ [SKETCHES OF 48 HAWKS]. In this tradiitonal context "taka" now translated as "hawk" had a more general meaning.

85105.[EHON - BIRDS & FLOWERS] [Nakayama SÛGAKUDÔ]. Shasei SHIJÛ-HACHI TAKA GAJÔ. Tôkyô, et al., Hakubunsha, 1888. 35.8 x 23.4 cm. Orihon folding album, in cloth-covered boards with printed paper title label, of 48 color woodcut images of birds and flowers after designs done by Sûgakudô, an important student of Hiroshige, for a series of prints printed circa 1860. This set from recut blocks was printed under the supervision of Nagao Keihitsu, for the publishing house Hakubunsha. Clearly, the same team of skilled engravers and printers who had worked on Taki Katei's album of birds, done the same year for Hakubunsha, worked on this album as well. The images are titled in both English and Japanese. The printing is exquisite, the colors lovely, in excellent impression and condition. Former owner's stamp on the front cover, brief title on the rear cover. Complete, as issued. Very scarce and lovely work.

$4,500.00

 

 

 

 

No survey of early modern bird and flower books would be complete without a nod to the classic 4 volume oban size print set designed by Imao Keinen (1845-1924). Reprinted time and again, the earliest printings, done by Tanaka Jihei, have a quiet elegance and three dimensionality that comes from the superb impression and colors.

87171.[BIRDS & FLOWERS] Imao KEINEN. KEINEN KACHÔ GAFU. Kyôto: Tanaka Jihei. Meiji 24-25 [1891-2]. 4 vols., each approx. 35.5 x 25.1 cm. Stringbound, fukuro-toji, Japanese style. Vol.1 [Spring] has 31 color woodblock prints of birds and flowers, of which 7 are huge double page prints. Vol.2 [Summer] has 32 plates, of which 8 are double page. Vol.3 [Autumn] has 38 prints, of which 4 are double page. Vol.4 [Winter] has 34 plates, of which 4 are double page, and one is a four page spread.

These original Tanaka Jihei issues (which preceded the Unsôdô versions) have become quite scarce, complete sets even more so, and sets with the western number captioning (the true first printing) almost impossible to find. The covers are original, with the titles directly printed there and gold flecking the handmade paper. The summer issue has a single worm track in the margins, else it and the other volumes are impeccable, the printing excellent, the colors subtle and lovely. The nicest set we have ever handled. All in a clasped chitsu case which itself is quite rough. 4 vols., complete as issued by Tanaka Jihei, very unusual thus.

$9,500.00

There was a later impression, also rendered by Tanaka Jihei, probably later in the 1890s. The "English" numbers of the plates have been recut as Japanese numbers. Still a wonderful set of images. You will notice that the change in presentation is much more subtle than in the case of the Bairei volumes. The publication information of the two issues is identical. There were also a number of later impressions of the set once the blocks had been sold to Yamada Unsôdô, also in Kyôto. We do not happen to have a copy of any Unsôdô printings but they are more bold and "flat" in coloration.

87806.[EHON] Imao KEINEN. KEINEN KACHÔ GAFU. Kyôto: Tanaka Jihei. Meiji 24-25 [1891-2]. 4 vols., each approx. 35.5 x 25.1 cm. Stringbound, fukuro-toji, Japanese style. Vol.1 [Spring] has 31 color woodblock prints of birds and flowers, of which 7 are huge double page prints. Vol.2 [Summer] has 32 plates, of which 8 are double page. Vol.3 [Autumn] has 38 prints, of which 4 are double page. Vol.4 [Winter] has 34 plates, of which 4 are double page, and one is a four page spread.
The prints are very clean, the colors and the printing quality are quite good. These original Tanaka Jihei issues (which preceded the Unsôdô versions) have become quite scarce, complete sets even more so. The covers are original, with the titles directly printed there. All in the publisher's clasped paper chitsu. 4 vols., It appears the binding of the "Spring" volume has been resewn. Complete as issued by Tanaka Jihei, very unusual thus.

$5,500.00

 

Watanabe Seitei [1851-1918] went to Paris for the International Exposition in 1878 when he was still a very young man and developed an indelible appreciation for Western watercolor techniques during his 3 year stay abroad. Combined with his study under the Japanese masters Kikuchi Yosai and Shibata Zeshin, he became a proponent of a new style, called Nihonga which sought to integrate traditional techniques and aesthetic sensibility with Western-informed application of color and texture. He was a designer for lacquer and a painter. He contributed designs for prints and books quite sparingly, but we do have a copy of one of his scarcer works, done in 1903:

87348.[EHON] Watanabe SEITEI, artist. KACHÔ GAFU. Tôkyô, Ôkura Shoten, Meiji 36 (1903). 22 sheets of colored woodcuts, birds and flowers. 25 x 17 cm. This copy with all prints is tassel-bound with preface, colophon and ad sheet. 1 volume: 1 single page, 19 double-page and 1 triple-page prints. (Ref: Mitchell p. 319.)

Very much in the style of his earlier SEITEI KACHÔ GAFU, but with different designs and much scarcer. No hashira pagination though other copies we have handled or found reference to were marked jô volumes in the hashira. However, it would seem that later volumes were never produced. Very good, early impression, very good condition overall. In a custom clasped chitsu case.

SOLD

Seitei also edited an art magazine with many color prints designed by him and other printmakers, titled the BIJUTSU SEKAI. His final and scarcest work was a set of 22 oban size prints issued in portfolio on a bird and flower theme, which was printed by Ôkura Yasugoro in 1916.

As was mentioned earlier, Takeuchi Seihô had been a student of Kôno Bairei early on and later became a representative of the Nihonga school of art during the 20th century. So, it should be no surprise that he and his students produced a bird and flower retrospective based on the work of the Edo era artist Tsuchida Eisho [1809-1860] but with a twist. The birds are often artistically anatomized into constituent parts – wings, feet, feathers, heads. Form and arrangement dominate beauty but the prints are beautiful nonetheless, as expertly crafted by the Kyôto publishing house, Yamada Unsôdô.

86892.[BIRDS & FLOWERS] Tsuchida EISHÔ, Takeuchi SEIHÔ, artists. EISHÔ HYAKUCHÔ GAFU. 4 vols., complete, 22.7 X 33.1 cm., Kyôto, Unsôdô, Taishô 3, 3, 12, 14 [1914, 14, 23, 25]. Profusely illustrated set of images of birds, often quite surreal renderings, ostensibly after design by Tsuchida Eishô, the mid-19th century painter, here re-interpreted by Seihô, the 20th century master, and subtly printed by the Unsôdô. Very unusual work, complete in a clasped chitsu case. Published over the course of more than a decade, it is seldom found complete. Very good colors, impressions, condition. A brief notice can be seen at Mitchell, p. 249, referencing Brown, p.202.

$6,850.00

 

 

 

 

Two retrospective works based on designs from the mid and later Edo era.

87199.[BIRDS & FLOWERS] Yanagisawa KIEN, artist. YANAGI SATOTOMO CHÔRUIFU. Kyôto: Yamada Unsôdô, Shôwa 3 [1928]. Oblong portfolio, 27.7 x 36.4 cm, introductory text and table of contents, followed by 22 color woodblock prints after works by Yanagisawa Kien [1706-58], the important "Chinese-style" painter. Printed by the foremost color printer of the day, a lovely collection of bird prints. The original portfolio has been repaired, the prints are very good. An unusual item.

SOLD

 

 

87541.[EHON] Matsumura KEIBUN. KEIBUN KACHÔ GAFU Zuhen. NP, ND [Aoki Shuzandô, Meiji 25 {1892} c. 1890's] 25.2 x 18.6 cm. Orihon folding album, bound into cloth over board covers, no title label. This is volume two (of two?), consisting of 12 color woodblock prints after bird and flower designs by Keibun [1779-1843]. See Mitchell 350 for the first series, in a horizontal format. Covers a bit worn, else very good.

 

$375.00

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 

 

 

We have largely ignored the flower side of birds and flowers, except insofar as plants and flowers form a backdrop for birds. But there was a tremendous efflorescence of botanical works in the Meiji and Taishô era, as well, illustrated in color. Some, like the HONSO ZUFU, completed in the Taishô era in some 95 volumes, looked back to complete encyclopedic works begun in the late Edo. Others, like the several works done on cherry blossoms and on irises by the great botanical artist and scholar, Miyoshi Manabu [1862-1939] were produced in late Meiji, early Taishô with meticulously carved and printed color woodblocks. But to stay more closely within the line of the bird and flower genre, we should turn aside from those meticulously (and beautifully) printed "botanicals". They were created to fulfill a scientific interest, however aesthetically. In the same attempt, we should mention a few of the other examples of natural history, depicted in woodblock, as for example this classic of conchology by Hirase.

88027.[EHON - Conchology] HIRASE Yoichirô. KAI SENSHU. 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 English [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.

$7,850.00

 

There are a few sets which, despite their depicting flowers and grasses only, do not seem to fall under the rubric of botanicals or natural history catalogs, per se, but rather approach the subject with an eye to both fine art printmaking and design, rather than science, thus being more reminiscent of Bairei or Seitei rather than Miyoshi. One could mention the wonderful works by Tanigami Kônan [printed by Unsôdô], especially his work on western flowers in 5 volumes, SEIYO SÔKA ZUFU.

88024.[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 SEIYO^ 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

 

One of Unsôdô's masterpieces in this realm of decorative color woodblocks depictions of flowers is a work that purports to assemble the designs of the 19th century Rimpa school artists such as Ho'itsu and Ki'itsu and produces them in a set of 10 volumes called [FLOWERS OF THE FOUR SEASONS] SHIKI NO HANA. This set was published in 1908 but reprinted many, many times, right up until the postwar period. The early printings are delicately colored and lovely.

87908.[DESIGN] Sakai HO-ITSU, Suzuki KI-ITSU & Nakano KI-MEI. SHIKI NO HANA. Kyoto, Meiji 41 [1908]. 10 volumes [18.8 X 27.9 cm], complete, bound orihon style in stiff paper covers with printed paper title labels. There are 2 spring, 4 summer, 3 autumn and 1 winter volumes, with a grand total of 237 (232 of which are double- page images, approx. 24 X 32 cm, within printed borders) color woodblock prints of Japanese flowers. Identified only in the introduction to each season, there is no printed text to mar the lovely color plates. The images are after designs by eminent 19th century Rimpa artists, and printed by Unsôdô while at the height of their considerable powers. This is a complete set (it is almost never found complete nowadays) in good impressions and colors, in a rather weak, clasped chitsu with printed set title label. A very nice example.

$7,500.00

 

Hasegawa Keika was another printmaker and designer among Unsôdô's talented group of artists. He would produce a fine series of designs, but first created a series of chrysanthemum prints in 1893. There is some controversy as to whether there were 2 or 3 volumes in the first impression, but we do have a fine impression of the first two volumes, the colophon indicating an 1893 printing and the prints themselves demonstrating every evidence of early printing.

87758.[EHON] HASEGAWA Keika, artist. KEIKA HYAKUGIKU. Kyôto: Yamada Naosaburo; Tanaka Jihei, Meiji 26 [1893]. 2 vols. (of 3?), 30.8 x 22.8 cm. 50 large [some double page] color woodcut plates of chrysanthemums. An interesting work, here in its first published form, printed by Torii Matashichi. Not in Mitchell, Ryerson or Bartlett & Shiohara. A copy is in the Dawes catalogue of the collection at the Victoria and Albert Museum. Certainly not unknown in Japan, but a scarce book abroad. This copy, in off-white wrappers, is a very good early impression in lovely delicate colors - more beautiful than the Unsôdô reprint of 1903. It appears that the fourth and final volume (to bring the total number of illustrations to 100) was never done. Here the first two volumes are available in lovely impression, colors and condition. In a modern clasped case.

SOLD 

 

 

 

We are pushing forward before we look back. There were many wonderful "bird and flower-ish" portfolios of prints done in the later 20th century, during the 20s and 30s…. Several Kyôto-based and Unsôdô-related printing houses emerged in late Taishô and early Showa Japan, including Uchida, and here, Maria Gabô….

87800.[FLOWERS]. SHINSHIN KACHÔ GASHÛ, 2 vols. Kyôto, MARIA Gabô, Shôwa 9 [1934] 34 x 43.7 cm., 36 color woodblock prints of flowers. Maria Gabô was a very skillful woodblock printing house in the 1930s. Their aesthetic sense differs from others of the period, the palette is subtler, the printing more "boneless" - overall a more painterly effect is achieved in this group of prints by some of the most celebrated Kyôto artists of the day. Here in one of their most remarkable efforts, MARIA has created ôban size prints embellished with all the effects of a deluxe production, bokashi, overprinting, etc., etc. The portfolio covers are worn, but the prints themselves are very good. Very unusual collection, almost never found complete. Occasionally individual prints appear. Not found in any of the standard references. The prints had originally been issued on a monthly basis, 3 prints per month. At the end, unsubscribed prints were collected up and issued, complete, in two portfolios, as here.

SOLD

As a late look at the bird and flower genre, it should be noted that, even deep into the 20th century, the subject was being mined - here for the task of teaching students to draw…

87799.[FLOWERS] Yûki SÔMEI. SHINSEN KUSABANA. Tôkyô, Kôgeisha, Taishô 12 [1923]. 27.9 x 36.7 cm. Portfolio of 63 color plates of flowers with a two page textual introduction by officials from the Education Ministry explaining its use as a didactic tool for teaching advanced students to draw in a "Nihonga" style, a combination of tradition and Western influence. The drawings are of course large, as well as delicately colored and quite lovely. A flavor of photo-engraving, "genshokuban", popular during the period, was employed. The covers of the portfolio are worn and damaged with occasional foxing to the plates, but good condition overall, complete. SÔMEI [1875-1957] was a very influential artist, particularly of birds and flowers, during the early and middle 20th century. Only one copy of this portfolio, in the Waseda University library, appears in the WorldCat online library catalog.

SOLD

 

 

 

 

Though woodblock printing was the primary vehicle of creating bird and flower prints, there was also a sub-genre of woodblock-printed and lithographed flower prints and books, done largely by commercial nursery concerns who had close relationships with European importers.

87224.[LILIES] IKEDA SHOTEN. Saishoku Shasei YÛSHUTSU YURIBANASHÛ . Tôkyô, Ikeda Shoten, Meiji 28 [1895]. Hybrid Japanese-Western binding in cloth covered paper covers. Printed paper title label. Ribbon-bound. 26.3 x 19.3 cm., 43 pages of color woodblock printed pints of lilies. This copy A COLLECTION OF COLORED SKETCHES OF LILIES FOR EXPORT is quite rough - the worn covers have been repaired and there is internal staining and soiling. Still and all, early Japanese nursery catalogues of lilies are very scarce and those done in woodblock printing, virtually unheard of. Sold with all faults. In a clasped cloth chitsu case.

$1,250.00

 

 

 

87244.[HORTICULTURE - Trade catalogue] YOKOHAMA NURSERY COMPANY, LTD. BULBS, PLANTS, SEEDS: 1909-10 DESCRIPTIVE CATALOGUE OF THE YOKOHAMA NURSERY CO., LTD. Yokohama, Japan: The Yokohama Nursery Co., Ltd., 1909. Profusely illustrated throughout: seven full-page color lithographs, all flowers but for one plate showing porcelain flower pots, and many black and white photo illustrations and line drawings in the text that show plants and flowers, stone lanterns, and the gardens and nurseries at the Yokohama Nursery Company. [vi], 98 pp. Flexible wood laminate covers, backed with paper, side-sewn with red thread. 25.3 x 18.5 cm. Title information taken from the front cover. One page has a little offset, and the back cover is gently creased, vertically at the center; otherwise it is a clean and remarkably well preserved copy. A descriptive catalogue of flowering and ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, etc. Also offered is a selection of dwarfed trees (bonsai) accompanied by instructions for their care. Copies of these catalogues are uncommon, particularly with the veneer covers, and quite scarce in this condition.

SOLD

 

 

 

86357.UNGER, Mary E. THE FAVORITE FLOWERS OF JAPAN Tôkyô: T.Hasegawa, Meiji 44 [1911]. The third printing of the second English version of this catalogue. 24.5 x 18.2 cm., viii + 61pp. Printed paper over boards. Profusely illustrated catalogue of flowers, with an advertisement in back by L. Boehmer & Co., of Yokohama, an important exporter of flowers and bulbs. FAVORITE FLOWERS is not creped, but it is beautifully illustrated in color woodcut throughout and represents one of Hasegawa's loveliest creations. This copy is clean inside and out, well-colored and printed, about fine overall.

SOLD 

 

 

 

 

 

Finally, ,we will cross over to design from bird and flower to illustrate the theme being adapted to a another aesthetic - the design book, as such:

We only have one of the three volumes of Kaito Tennen's wonderful series of designs in large format on the them of "tsuru" - cranes. A potent element of traditional Japanese design, here the crane assumes a wonderful combination of the realistic and the abstract.

86656.[DESIGN] Kaito TENNEN. TENNEN HYAKU TSURU. Part 2 (of 3). Kyôto, Unsôdô, 31.7 x 22.1 cm. Meiji 33 [1900]. Tassel bound in printed heavy paper covers. 20 lavish color woodblock images with metallic ink and over-printing of designs on a theme of cranes. Tennen is one of the most important neo-Rimpa designers of the early 20th century and this major work appears nowhere in the literature. The covers are worn, which a cigarette burn on the front cover that holed through the cover, the preliminary page and the first two woodblock prints. Good impressions and colors overall. Sold with all faults.

SOLD

 

 

 

 

 

There are several traditional avenues to the new design aesthetic of the 20th century. The first, bird and flower art, was easily recapitulated by Keinen, Bairei, Seitei, Konan, etc. and by printer/publishers re-issuing earlier work from the Edo period. The next, the traditional textile design, is of a deeper and more complex lineage.

It is hard to draw a distinction between design books done for the textile trade and design books done for the sake of exploring design, itself. The integration of traditional design motifs (cranes, plum blossoms, tigers, dragons, ad infinitum) with a sort of proto "commercial art" by the textile industry, beginning in the 17th century, is a fascinating subject. There is an ebb and flow to fashion all through the Edo period that can be traced quite clearly by the clothing designs featured in kimono design books (hiinagata-bon).

Such fine artists as Hishikawa Moronobu and Nishikawa Sukenobu not only created paintings, illustrated classic and contemporary literature and designed ehon picture books, they also created many hiinigata-bon as well. Many other artists did also, but it is Moronobu and Sukenobu who had the confidence to sign these more prosaic works, unlike many other masters who issued anonymous works in the genre.

The hiinigata works done in the 17th and 18th were "working catalogues", often used by textile dyers and kimono creators as idea books and quite literally worn out. The examples that remain have become increasingly desirable as cultural artifacts and hard to find. Usually published in a hanshihon 3 volume format, one occasionally runs across odd volumes. Complete sets are very rare, indeed. Interestingly, the quantity of original work in the genre had declined substantially by the late Edo era (early to mid 19th century) compared to earlier periods.

We will explore the 17th and 18th century roots of textile design books at a later date, but now turn to the Meiji era of the late 19th and early 20th Century to inscribe the renaissance of the textile design book.

Textile Design Books

Though there were other printing houses which effected the textile design "boom" we are describing, by far the two most important were the twin Kyôto houses, Unkindô and Unsôdô. The brothers Honda Ichijiro and Yamada Naosaburo, respectively, were the founders of the two companies. Honda, the older, was more daring in his design sense and creativity, Yamada the more business-like. Yamada had begun in the field of fine printing and publishing in the early 1890s, Honda a few years later. They joined forces after the demise of Honda's Unkindô firm about 1905 and in contemporary times, the firm of Unsôdô still alternates the headship of the company between the Yamada and Honda branches of the family. A detailed treatment of the companies in English has not yet been done.

There were several series of small hanshihon size color woodblock kimono design books issued in a series by Unkindô. They were very well printed and the designs explicitly fit the shape of kimono, haori, even square furoshiki. There could be no confusion about their utilitarian purpose, yet they were beautiful as prints, as well. An early example of the genre was HANA NO KAKE...

 

84588.[DESIGN] [UENO Kiyoe, designer]. HANA NO KAKE. Meiji 32 [1899]. [n.p.] [Kyôto, Honda Ichijiro]. String-bound Japanese style, fukuro-toji, 17.5 x 24.4 cm, 150 full page color plates after designs by Ueno, one of the most important Yuzen dyers of his day. Published by Honda Ichijiro, later the founder of Unkindô. The covers are worn, but the interior is clean and the printings and colors are excellent (with metallic inks, blind-stamping, etc.). The first 5 volumes of this series, bound together. (See Cheryl Boettcher, THE KIMONO IMAGINED, University of Illinois, Champaign-Urbana).

SOLD

 

 

 

 

 

 

84589.[DESIGN] UENO Kiyoe, designer. HANA NO KAKE. Meiji 33 [1900]. Kyôto, Honda Ichijiro. String-bound Japanese style, fukuro-toji, 17.5 x 24.4 cm, 30 full page color plates after designs by Ueno, one of the most important Yuzen dyers of his day. Published by Honda Ichijiro, later the founder of Unkindô. The covers and the interior are clean and the printings and colors are excellent (with metallic inks, blind-stamping, etc.). The fourth volume of this series. (See Cheryl Boettcher, THE KIMONO IMAGINED, University of Illinois, Champaign-Urbana).

$545.00

 

 

 

 

 

Another similar series was YACHIGUSA:

84692.[DESIGN] UENO Seikô, designer. YACHIGUSA Jû-yon. Kyôto, Honda Unkindô. Meiji 36 [1903]. 25 x 17.8 cm., string-bound Japanese-style, fukuro-toji, printed paper title label, printed covers. Part 14 of the 15 volume series of kimono designs by Seikô, published by the important design house, Unkindô. For more on these volumes, see the recent catalogue of the design book exhibition, done at Stanford, ZUANCHÔ IN Kyôto [pp. 26 & 34]. With 30 beautifully printed color woodblock prints. Very good condition, fine impressions and colors.

SOLD

 

 

 

 

 

 

86412.[DESIGN] UENO Seikô, designer. YACHIGUSA Maki no Kyû. Kyôto, Honda Unkindô. Meiji 35 [1902]. 25 x 17.8 cm., string-bound Japanese-style, fukuro-toji, printed paper title label, printed covers. Part 9 of the 15 volume series of kimono designs by Seikô, published by the important design house, Unkindô. For more on these volumes, see the recent catalogue of the design book exhibition, done at Stanford, ZUANCHÔ IN Kyôto [pp. 26 & 34]. With 30 beautifully printed color woodblock prints. Good condition, fine impressions and colors.

$850.00

 

 

 

 

 

 

Another collection of small kimono-shaped designs.

 
 

84693.[DESIGN] YOSHII Seisen, designer. NATORI-GUSA Ichi, Ni. Kyôto, Honda Unkindô. Meiji 36 [1901]. 25.5 x 18 cm., string-bound Japanese-style, fukuro-toji, printed title on printed covers. The first 60 images from a series of kimono designs by Seisen, published by the important design house, Unkindô. HANAKURABE by Seisen was shown in the design book exhibition, done at Stanford, catalogued in ZUANCHÔ IN Kyôto. With beautifully printed color woodblock prints. Very good condition, fine impressions and colors.

SOLD

 

 

 

This last is not an Unkindô production, but shares the beautiful printing and imaginative design on a kimono matrix.

84845.[DESIGN]. MIYAKO SOMENISHIKI Tsurukame. N.P., N.D. [Kyôto, Meiji 30 (1897)] 23.5 x 16 cm. Printed title on the cover. String-bound, Japanese-style, fukuro-toji. One of several different works with the same title from the turn of the century, this collection of 60 kimono designs is extremely well-printed. The "Tsurukame" volume here presented does not have a colophon but appears to be complete. Other designers from the series include Furuya Kôrin, but these designs appear to have been done by one Totsu Kichijiro . The printer/publisher was Okada Shinjiro in Kyôto.The covers are a bit worn, but the impressions and colors are excellent. A lovely, if a bit mysterious, example of the genre.

$850.00

 

 

 

 

 

Besides the small format kimono books, there were also a number of books that looked back to traditional patterns, particularly textile patterns. Here the ever-popular chintz patterns, which originally came to Japan over the silk road, are explored.

84625.[DESIGN] Shimomura Tamahiro, designer. SEKAI SARASA 2 vols. Kyôto, Unkindô, 22.3 x 31.3 cm., Meiji 37 [1904]. 2 vols., Tassel-bound in decorated paper covers, fukuro-toji. 27 full page color woodcut plates of cotton chintz designs from around the world. Nicely printed, very good condition.

$785.00

 

 

 

 

 

 

 

87181.[DESIGN] Kondô Ryûkô. SEKAI SARASA 2 vols. Kyôto, Unkindô, 22.3 x 31.3 cm., Meiji 40 [1907]. 2 vols., Tassel-bound in decorated paper covers, fukuro-toji. 27 full page color woodcut plates of cotton chintz designs from around the world. Covers show light wear at edges. Nicely printed, very good condition. Pencil ownership, an ink stamp, and a library pocket on inside front cover of each volume. Appears to be identical in every respect to the set of the same title published 3 years earlier, which credits the important designer Shimomura Tamahiro. Could Ryûkô and Tamahiro be the same person? There must be a story here. In any event a lovely book published by the important Unkindô.

$375.00

 

 

 

 

There were also several textile design works done on a larger scale. The designs are fitted to kimono shapes in this instance, as well.

84569.[DESIGN] Kaito TENNEN, artist. TENNEN MOYÔ KAGAMI. Kyôto, Unsôdô, 1899. 5 volumes, Large folio, 37 x 25.3 cm, color-woodcut printed designs, a total of 187 oban-size color prints by the estimable Tennen, one of the most important designers of his time along with Furuya Kôrin, Tsuda Seifû and Kamisaka Sekka. Brilliantly printed by Unsôdô. (See Hillier, volume 2, pp. 978,982 for more on this important work.) This set of kimono designs (there were also 2 additional volumes on haori that are generally not included in the set) has become quite unobtainable complete - ours was a working copy that belonged to a design house in Japan and as such it is a bit worn (with one cover mismatched), but it is a lovely work in any event.

SOLD

 

 

 

 

 

84580.[DESIGN] ISONO, U. IZUTSU Yûki no Maki. Kyôto, Isono Shikkaiten, Meiji 42 [1909]. Very large ribbon-bound fukuro-toji binding in printed paper covers. 45 x 32.3 cm. 30 full page polychrome woodcuts depicting kimono patterns, printed and over-printed for a sumptuous surface. Isono was a textile firm of the day, here employing some of the best techniques available to display their wares. This is the "snow" volume of a three volume set. Very scarce, the largest size prints of the "hinagata-bon" genre we have seen. Well-printed and internally quite clean, the covers are worn.

$2,500.00

 

 

 

 

 

 

 

As we saw in the HANA NO KAKE volumes, designs were sometimes created to fit the square format of the furoshiki wrapping cloth. Here two large format volumes are dedicated to that purpose.

 

86658.[DESIGN] MATSUI Tôshô, artist. FUROSHIKI GASURU Ni. Kyôto, Unkindô, Meiji 34 [1901] 36.5 x 25.2 cm. 20pp. of exquisite color woodblock-printed designs in a furoshiki, wrapping cloth, format. Thus a series of roughly rectangular designs. Unkindô was managed by Honda Ichijirô, who would later merge his company with Unsôdô. Honda had a very talented eye and the lavishness and attention to detail of his books is epitomized in this handsome work. Very good impressions and colors, in the original, slightly soiled, printed covers. Very good "second volume" of this very scarce series.

SOLD

 

 

 

 

 

86659.[DESIGN] KIMURA Kozan, artist. FUROSHIKI GASURU San. Kyôto, Unkindô, Meiji 34 [1901] 36.5 x 25.2 cm. 20pp. of exquisite color woodblock-printed designs in a furoshiki, wrapping cloth, format. Thus a series of roughly rectangular designs. Unkindô was managed by Honda Ichijirô, who would later merge his company with Unsôdô. Honda had a very talented eye and the lavishness and attention to detail of his books is epitomized in this handsome work. Very good impressions and colors, in the original soiled printed covers. Good "third volume" of the series with a bit of internal waterstaining. Very scarce.

SOLD

 

 

 

 

 

 

 

 

Part of a wonderful set in large format which celebrated the Genji myth with appropriate kimono designs.

83432.[DESIGN] SHIMOMURA Tamahiro. GENJI BURI Ge. Kyôto, Unsôdô, Meiji 39 [1906] Orihon folding album with paper over boards, printed paper title label. 33.2 X 24 cm. 18 beautifully printed double page color woodcuts with metallic inks and overprinting. Lists Honda Ichijiro, Yamada Naosaburo's older brother, as the publisher's representative - perhaps a hybrid work done soon after Honda's Unkindô failed and was absorbed into Yamada's Unsôdô. The cover paper is torn, the rear cover paper missing, but the prints are large and lovely designs in good shape. The final volume of a set of three.

SOLD 

 

 

 

 

Our final example of the large format kimono design genre is one of the finest of any produced in Kyôto early in the 20th century. Virtually unknown in the West, it is exquisite.

86872.[DESIGN] Yamashita KÔRIN. HANAGATA. 4 vols. Kyôto, Meiji 33 [1900]. Honda Ichijiro, et al. 25.5 x 36.7 cm. String-bound Japanese-style fukuro-toji. The four seasons are represented in 155 full page oban size prints of kimono designs. The set is in very good condition, lovely printings. Honda Ichijiro is the printer/publisher who went on to start the important house, Unkindô, and join Unsôdô thereafter. It appears that Louise Brown saw a single volume of this set in Japan [Brown, page 203]. Though individual incomplete volumes of this set occasionally appear, a full set, complete, like this one is very unusual. In a modern chitsu clasped case.

$7,500.00

 

 

 

 

 

84581.[DESIGN] Yamashita KÔRIN. HANAGATA Aki. Kyôto, Honda Ichijiro, et al. 25.5 x 36.7 cm. String-bound Japanese-style fukuro-toji. The autumn is represented in 35 (of 40) full page oban size prints of kimono designs. The volume is in very good condition, lovely printings. Honda Ichijiro is the printer/publisher who went on to start the important house, Unkindô, and join Unsôdô thereafter. It appears that Louise Brown saw a single volume of this set in Japan [Brown, page 203]. When complete, the four volume set covers all four seasons. Even incomplete, as here, it is a lovely production.

$1,250.00

 

 

 

 

 

An interesting transitional work, done in the early Taishô era, this ten volume set combined a reverence for past patterns with a pure appreciation of form. Not so much a textile design book, per se as a kaleidescope.

87845.[DESIGN] TSUJI Shôkyô, editor. SENSHOKU TAIKAN Some no Bu 1-3. Kyoto, Taisho 3 [1914]. 9 7/8" X 7 1/8". "Encyclopedia of Dyeing and Weaving, Dyeing Section" 3 volumes. Illustrated designs in color wooblock prints, by the premium art publisher of the 20th century in Japan. A beautiful set in very good impression and colors, The covers are rubbed, else good condition.

$1,850.00

 

 

 

 

 

Before leaving the textile design genre, it might be well to address, at least briefly, two other approaches to the design "workbook" for textile dyeing houses in Kyôto. Besides the color printed example books, there were also hand-drawn sample books, as well, that would be executed inhouse or outsourced from freelancing designers, then stored and referenced for generations. Here is one example:

84627.[DESIGN] MANUSCRIPT ALBUM OF KIMONO DESIGNS [N.p., n.d. - Kyôto? c. 1880s] Album of 60 (numbered) full page hand-drawn and colored kimono patterns. The hand calligraphed title (unread) refers to the kimono shop which employed this wonderful sample book as a sales tool. It has been folded in half, but the images are beautifully detailed, the colors calm and lovely, the brushwork superb. The patterns point to the last quarter of the 19th century. As described, good to very good overall (only one or two plates have some slight foxing) and with a centerfold. These kimono manuscripts have become increasingly hard to find, particularly such lovely examples. The numbering is contiguous and appears to be complete.

$3,500.00

 

 

 

 

 

 

 

Then there were sample books of swatches from a company's own production or that of others, combined into reference books for future projects. The practice continued, as here, into the post-War period. In many cases, the cloth assembled into the albums were of much earlier vintage.

83296.[FABRIC SAMPLES]. LARGE ALBUM OF 72 FABRIC SAMPLES n.p., n.d., [Kyôto?, 1950s 60s?] Large oblong albums, 36.2 x 30.4 cm, folding album in fabric covered boards from the post-war era. Sample book of lovely and inventive designs in many different fabric varieties. Much use of metallic thread, etc. The fabric swatches are in fine condition, as is, save for a bit of corner-rubbing to the album itself.

$1,200.00

 

 

 

 

 

 

Before turning to the theme of design for design's sake, there are a few other more utilitarian design books, not created as examples of textile patterns, but rather designs for the decoration of three dimensional objects and the like.

87753.[DESIGN] Furuya KÔRIN. KÔGEI NO BI. Kyôto, Unsôdô, Meiji 42 [1909]. 3 vols. Folding orihon albums, 32 X 22.5 cm, in paper over boards with integral printed title labels. Originally appearing in 1908, this copy is particularly well-printed with lovely saturated overprinted colors. 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, this work and his remarkable SEIKA and SHASEI SÔKA MOYÔ 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 condition throughout is good to very good, with volume two having some waterstaining to the preliminaries, but overall an unusually good printing. In three volumes, as issued.

SOLD

 

 

 

 

 

87509.[DESIGN]. BIJUTSU ZUAN GAHÔ. Vol. 1 [of at least 4]. Kyôto: Unkindô, Meiji 35 [1902]. 24 x 17.6 cm. Tassel-bound, fukuro toji, printed paper covers. 18 pages of well-printed designs from textiles, pottery, etc., etc. Issued as a periodical by Unkindô, it appears that at least four issues were distributed. A bit of edgewear, else very good throughout.

$450.00

 

 

 

 

 

 

 

Actually fan albums are not strictly design books, per se. They are more like salesmen's catalogs. But their prosaic nature contrasted with their real beauty seem to make them fit.

87795.[FAN ALBUM]. MEIJI ERA WOODCUT FAN ALBUM FROM Kyôto. 24.0 x 13.2 cm, bound orihon-style, folding album. Fan albums are an interesting genre. Created as marketing tools for deluxe fan makers, they are a compilation of a season's available designs, commissioned from some of the most eminent artists of the day. Once the season was over, the sample books were sold - a very limited production. They have largely disappeared from the market, almost before anyone noticed how interesting they really are.

This particular example has 26 double page designs in an uchiwa "paddle-shaped" fan format. Probably created in the late 1880s or early 1890s. Lavishly printed on deluxe paper, generally good condition, one or two of the prints are damaged, a few others are a bit foxed and browned. The covers are quite rough. 26 does not seem to be a complete number so maybe some examples are missing. Overall a "noble fragment" of a wonderful genre and priced accordingly.

SOLD

 

 

 

 

 

84620.[FAN ALBUM]. Taishô ERA WOODCUT FAN ALBUM FROM Kyôto. Fan albums are an interesting genre. Created as marketing tools for deluxe fan makers, they are a compilation of a season's available designs, commissioned from some of the most eminent artists of the day. Once the season was over, the sample books were sold - a very limited production. They have largely disappeared from the market, almost before anyone noticed how interesting they really are.

This particular example is very nice, with 57 prints in all - by such important artists as Seihô, Taikan, Tessai, etc., plus a number of unsigned and quite striking abstract designs, as well. Probably created in the 1920s. Lovely printings and colors, generally good condition, one or two of the prints are damaged, a few others are a bit foxed and browned. Brocade covers nibbled at a corner.

$1,950.00

 

 

The government issued a series of very well-printed manuals of design for such things as military uniforms, medals, flags, etc., at the very beginning of the new Meiji regime.

87703.[FLAGS] Suharaya Môhei, publisher. KISHÔ ZUFU. Tôkyô, n.d. [c. 1870]. 22.1 x 14.6 cm., Printed paper covers, tassel-bound, Japanese-style, fukuro-toji. 11 sheets of color woodblock printed prints of Japanese government flags for the new Imperial era of Meiji, with explanatory text. A so-called "kanpon" or government publication, one of several "outsourced" to private printing houses during the earliest days of the new regime. Fine, impressions, colors, condition, in clasped chitsu case. Very unusual.

$650.00

 

 

 

 

 

 

Though not explicitly created as a sample book for actual fans (and perhaps therefore more suited to the design for design sake designation), the constraint of the fan shape is employed here to create wonderful and imaginative patterns.

85088.[DESIGN] Ueno Kenkyûkai, editors. Seishu-en GOSHOGURUMA. Oblong orihon folding album, 27.2 x 39.1 cm., printed paper over board covers. Kyôto, Unsôdô, Shôwa 9 [1934]. 12 full page designs, printed and overprinted in colors and metallic inks, embossing, etc. - all the techniques of which Unsôdô was master, here based on the theme of ancient noble carts from the classical period. Fan-shaped designs, each identified as to its designer. About fine inside and out.

SOLD

 

Satsuma ware was an important item of export commerce for the Japanese. Popularized in Europe and America by Japanese participation in the industrial fairs of the mid to late 19th century, one occasionally finds the design house results of the cultural interaction. Here are two quite extraordinary albums of paintings...

85778.[CERAMIC - SATSUMA WARE] MANUSCRIPT ALBUM OF SATSUMA WARE. Old marbled boards, 14 x 20 cm., side-sewn. Brooklyn, NY, ownership notation, probably late 19th century, when Japanese-made Satsuma ware enjoyed a considerable vogue in America and Europe. Bound-in, there are a total of 94 pages of vases, bowls, and urns skillfully depicted in watercolor and gouache, with touches of gilt, to represent the 'brocaded' Satsuma surfaces. There is a single numbered image on each sheet, but no caption. The numbers are consecutive, though not continuous, from 2 through 105. Additionally, there are one and a half extra sheets, similarly decorated, which are loose and laid-in. Housed in a modern custom box.

$7,500.00

 

 

 

 

 

 

87366.[DESIGNS FOR SATSUMA WARE] KINKOZAN. 206 ORIGINAL PAINTINGS. A large portfolio of manuscript images, some 205 approximately 29 x 19.5 cm., and one large folded image about twice that size that is stamped with the seal of the important Kyôto ceramic house Kinkôzan. Skillfully done throughout in opaque watercolor, white gofun, metallic and mineral pigments, the drawings capture the complex and intricate patterns of 19th century Kyôto Satsuma ware as designed by perhaps its finest interpreter. Kinkôzan Sôbei VII (1868-1927) and his studio of some 250 potters, who were the largest producers of Satsuma style wares in Meiji Japan, and among the most skilled. This wonderful group of images illustrates the three dimensional quality of the designs where necessary as they wrap around the pot. They are as lavishly and meticulously achieved as the pots themselves. Many of the drawings have(stock?) numbers as well.

This group of drawings could form the basis of an important work of exploration of Kinkôzan and the Kyôto potters in the late 19th century. Are there examples of these wonderful designs existing in museums and collections around the world? Were these simply a record of designs as they were produced or were they a "sample book" for orders?

In very good condition, the drawings are enclosed in a folding clasped chitsu case.

$25,000.00

 

 

 

 

 

Design for Design's Sake

By the time Unkindô and Unsôdô had started to mature in the early years of the 20th century in Kyôto, the group of designers they had assembled to illustrate their works were certainly the most talented in Japan. They fell into two main currents. One was the Neo-Rimpa adherents led by the brilliant Kamisaka Sekka, whose first works in the early 1890s had been rather conventional kimono design books but who, by the time of the appearance of his first masterwork CHIGUSA, had broken design free of its utilitarian purposes and embraced a Rimpa inspired independent aesthetic of design for design's sake.

86410.[DESIGN] SHIN ZUAN, Maki no Shichi: Kyôto, Nakayasu Shinsaburô, Meiji 25 [1892]. 24.4 x 16.5 cm. Cord- bound Japanese-style (fukuro toji). Printed paper covers, 12 single page color woodcuts after designs by Kamisaka Sekka [3] and others. This is volume 7 of the series, NEW DESIGNS. Engraved by Fujimura Shinjirô and printed by Takagi Gensuke, it is a fine example of the art of book making in middle Meiji. The impressions are fresh and very good. The overall condition is about good.

SOLD

 

 

 

 

 

 

87742.[DESIGN] Kamisaka SEKKA, artist. CHIGUSA. Kyôto, Unsôdô, Meiji 36 [1903]. 35.3 X 23.7 cm. 3 volumes. This exquisite suite of 54 single page color printed woodblocks precedes Sekka's MOMOYOGUSA by several years. Many of the prints are printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is a nice impression. Internally excellent condition with just a touch of browning to a few images in volume three. Even the exterior covers, which are very fragile, are still quite presentable with the original printed titles - there is a bit of rubbing of the printed patterned paper and ownership labels. One of the sets produced in 1903 from sheets printed after the original subscription series, begun in 1899, was completed. As issued.

SOLD

 

 

 

 

85273.[DESIGN] Kamisaka SEKKA, artist. CHIGUSA. Kyôto, Unsôdô, Meiji 36 [1903]. 35.5 X 23.7 cm. Volume two only (of three, total). This exquisite suite of 12 (of 54 in the 3 volume set) full page color printed woodblocks precedes Sekka's MOMOYOGUSA by several years. Many of the prints are printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is a nice impression. Internally excellent condition. Even the exterior covers, which are very fragile, are still quite presentable with the original printed titles - there is a bit of "skinning" of the printed patterned paper.

$2,750.00

 

 

 

 

 

84629.[DESIGN] Kamisaka SEKKA, artist. CHIGUSA, Vol.1. Kyôto, Unsôdô, Meiji 32 [1899]. 35.5 X 23.6 cm. 1 volume. Bound orihon-style, back to back. This exquisite suite of 30 single page color printed woodblocks precedes Sekka's MOMOYOGUSA by a decade. As in MOMOYOGUSA, many of the prints are printed and overprinted using opaque and metallic inks to produce a sumptuous surface. 6 of the interleaved tissue sheets are the original poem-printed ones, which are seldom found.

 

The full suite of 54 plates was completed and published as a three volume set in 1903. The copy we have is made up of the 10 three print fascicles for volume one that Unsôdô issued on a monthly basis. The condition of the prints is very good, the impressions excellent. It would seem to have been bound up into the volume one covers by Unsôdô, although the original front cover is missing. With the ad page and title from the original parts bound in, but missing the short preface and title page of the later bound version of volume one. With all 30 prints for volume one, complete.

$6,750.00

 

 

Unsôdô kept and still possesses the original woodblocks used for both CHIGUSA and MOMOYOGUSA. They have reprinted both within the last 30 years. As they put it, they have the blocks, the ink recipes, the printing skills , it is the original paper that they cannot duplicate .

87880.[DESIGN] Kamisaka SEKKA, artist. CHIGUSA. Kyoto, Unsôdô, Heisei 3 [1991]. 24 x 35.5 cm. 3 volumes. This wonderful suite of 54 single page color printed woodblocks preceded Sekka's MOMOYOGUSA by several years, originally appearing in 1899-1903. Many of the prints are printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is a nice late impression - the postwar edition, printed from the original blocks still in Unsôdô's possession. Excellent condition in the original publisher's dustwrappers and clasped case. Even this recent printing has become quite hard to find. At approximately the original publisher's price.

 

SOLD

 

 

 

In a work of design published by Tanaka Jihei, Sekka is here much more delicate and understated. In a style appopriate to less lavish printing techniques, he has created a wonderful series of b+w and grey-shaded designs.

83262.[DESIGN] Kamisaka SEKKA [Yoshitaka]. SHIKISHI. Kyôto: Tanaka jihei, Meiji 34 [1901]. 2 folios, each 31.2 x 21.5 cm. Volume one has 2 color prints and 30 b+w sumi prints, volume two has 30 b+w sumi prints. An interesting design book of subtlety. The covers are quite worn with a few internal stains, but overall a good printing in good condition. String-bound fukuro-toji Japanese style with the title printed on the covers. Complete.

SOLD 

 

 

 

 

 

 

 

 

Sekka sailed to Europe to observe the Paris International Exposition at the turn of the old century. His time on deck, watching the waves, was the inspiration for this wonderful series of color-printed designs.

87763.[DESIGN] Kamisaka SEKKA. Senshoku Zuan KAIRO (ONE HUNDRED PATTERNS OF WAVES). Kyôto, Unsôdô, Meiji 36 [1903]. 36.4 x 24.7 cm. It appears that the 2 pages of prefatory material of the original edition of 1902 have here been replaced in the orihon folding album version by two more pages of color woodblock designs, making 35 pages of design in all. Woodblock-printed designs after waves, conceived by Sekka when he was on board ship on his way back from Europe. The printed covers are quite worn and a bit "skinned" and the paper internally very slightly browned but overall a good copy of this scarce classic by Sekka.

$3,250.00

 

 

 

 

 

MOMOYOGUSA is Sekka's masterpiece and it is generally acknowledged to be the most significant and beautiful Japanese design book of the 20th century. Popular in its own time, but limited in its production by the fragility of the large printing blocks and the overprinting employed, it is generally thought that only about 100 sets of prints were produced at a time and that the blocks would have to "rest" for as much as a decade between printings. Hence, as the over worked blocks cracked in several places before the Pacific War, it is clear that few copies of early and complete issues survive. This set is one of those.

87951.[DESIGN] Kamisaka SEKKA, artist. MOMOYOGUSA. Kyoto, Unsôdô, Meiji 42-43 [1909-10]. 30.1 X 22.5 cm. 3 volumes. Most consider it the finest Japanese design book of all time, this exquisite suite of 60 double page color printed woodblocks is printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is from an early printing, before cracks had widened in the printing blocks. The condition is very good, with only a bit of the gutter fading and metallic ink transfer common to this work. Definitely one of the cleaner copies internally that we have seen. The exteriors have been restored and show the signs of old chipping away of the overlay paper but the original title labels are still present. The paper overlays are very fragile and so they almost always have at least some problems of condition. In a contemporary supplied clasped chitsu box. A beautiful copy of this cornerstone of 20th century design. Complete.

$38,500.00

 

 

 

 

Here is a copy of the MOMOYOGUSA post-war printing.

87881.[DESIGN] Kamisaka SEKKA, artist. MOMOYOGUSA. Kyoto, Unsôdô, Shôwa 62 [1987]. 30.1 X 22.5 cm. 3 volumes. Doubtless one of the finest design books of all time, this exquisite suite of 60 double page color printed woodblocks is printed and overprinted using opaque and metallic inks to produce a sumptuous surface. This is the most recent re-strike from the original blocks, done by the original printer, Unsôdô. The condition is like new. In the publisher's original shipping box, brocade-covered clasped chitsu with printed paper title label and dustwrappers on each volume. Obviously, only a pale reflection of the original work, nonetheless modern Unsôdô's still considerable skills have succeeded in creating a work that has considerable merit in its own right and captures the design genius of Sekka in his original medium of artistic expression, the color woodcut. Three volumes, complete:

$4,500.00

 

 

 

 

Toward the end of his life, Sekka's art became more restrained and elegiac. It shows the softness of the early work, SHIKISHI.

84906.[DESIGN] Kamisaka SEKKA. UTA-E Kyôto & Tôkyô: Unsôdô, Shôwa 9 [1934]. 1 volume, 31 x 22 cm, cloth, ribbon bound covers, paper label. 25 color full page images after designs by Sekka. As Sekka's last work, it crowns his remarkable career with a lovely evocation of Kôetsu's Saga-bon. (For more on this important work, see Hillier's description on p.976 of the second volume of his ART OF THE JAPANESE BOOK.) The condition is a bit better than average, with relatively little of the offsetting from the prints to the poems that is usual in this book. Slight foxing and slight edgewear. The printing is very good, the colors lovely. It is a very good copy overall. Housed in the original titled chitsu case which shows general soiling all over, no clasps and with some folds starting. One volume (complete):

$3250.00

 

 

 

 

 

 

His work on traditional women's fashion in Japan.

87918.[DESIGN] Kamisaka SEKKA. NIHON JOSO 7 vols. Kyoto, Unsôdô, Meiji 39 [1906]. 26.3 x 18.7 cm. String-bound, Japanese style, fukuro-toji, printed paper title labels. An interesting visual history of women's fashion in traditional Japan. The b+w woodblock prints were designed by the master himself, Kamisaka Sekka. A good impression, some cover soiling, in very good condition overall. Complete.

$1,150.00

 

 

 

 

 

 

Sekka paintings are not impossible to find. Here are two disparate examples of his style.

83890.[KAKEMONO] Kamisaka SEKKA, artist. A BOATMAN. Hanging scroll, image size 138.8 X 27.6 cm. Beautifully mounted. Modern 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 ouevre. A wonderful, lively and well-brushed rendition. Neo-Rimpa at its best.

$6,000.00

 

 

 

 

 

 

 

87804.[KAKEMONO] Kamisaka SEKKA, artist. "YAMAGA YÛKEIZU" PAINTING ON THE THEME OF A MOUNTAIN COTTAGE AT EVENING. Hanging scroll, image size 120 X 37.5 cm. Beautifully mounted on brocade with dark wooden jiku. The painting is signed and sealed by Sekka (1866-1942), the foremost master of Rimpa painting in the 20th Century in Japan. The style is that of late Sekka Rimpa quite reminiscent of his work in the book UTA-E, which was published in 1934. Probably from the late 1920s to the very beginning of the 30s. The brushwork and calligraphy are first-rate, the presentation impeccable.

A lovely evocation of tradition in 20th century Japan as the pictured woman and her child work and play out of doors in the moonlight (an echo of Yamamba and Kintarô, perhaps?) In a newish wooden box and outer cardboard slipcase with written title label.

$4,500.00

 

 

 

 

 

 

Ogino Issui is another proponent of a Neo-Rimpa style who worked in Kyôto during the heyday of Unkindô and Unsôdô.

85101.[DESIGN] Ogino ISSUI, designer. KAKIMAMI GUSA vol. 3. Kyôto, Unkindô, Meiji 37 [1904] Ribbon-bound oblong Japanese style, 25.4 x 36 cm. Ge volume (volume three of three), only. 25 large full page color woodblock designs by Ogino Issui, one of the most elusive, yet most skillful designers of the early 20th century. This would appear to be the original Unkindô edition, later sold (though maybe not reprinted) by Unsôdô when Unkindô was folded into Unsôdô. It appears in the Taishô era Unsôdô catalogue, but not the later Shôwa era one. The book is largely unheard of in the marketplace. Little is known of Issui and his oeuvre is quite limited, his most famous work being the ZUAN HYAKUDAI in three volumes. This work is perhaps his scarcest and very lovely. In nice condition, impression and color through out with a bit of browning.

$1,950.00

 

 

 

Furuya Kôrin shared Sekka's passion for the Neo-Rimpa design aesthetic. The earliest work by him we have handled dated to 1897 or soon thereafter, the last from about 1909. Enormously prolific during his short lifespan, he qualifies as one of the finest of all the Kyôto design artists of his day.

The KÔRIN MOYÔ was literally his signature piece. Condition and printing quality are extremely important for this popular, often printed work. This partial edition is interesting as being bound up from complete, unfolded sheets.

85065.[DESIGN] FURUYA Kôrin, artist. KÔRIN MOYÔ. No colophon: [Kyôto: Yamada Unsôdô, c. 1907] 25 x 35.5 cm, oblong folding album printed in color woodcut, in cloth over board covers with paper label. Covers titled in the usual hentai-gana. Preface by Furuya. The album consists of 21 oblong spreads lavishly printed in colors and metallic inks. This would seem to be a variant issue of the 2 volume KÔRIN MOYÔ, published by Unsôdô in 1907, where the 25 double page spreads in 2 volumes were folded in half and issued as small orihon albums. Fairly well printed and overprinted in metallic inks and bold colors. A good example of the Neo-Rimpa style, here available in a full page, unfolded version. A very unusual format for this important work. [Ryerson p.363]

SOLD

 

87842.[DESIGN] Furuya Kôrin, designer. UNKA SHU. Kyoto: Yamada Unsôdô, Meiji 35 [1902]. 2 vols. [Jô,Ge]. Each volume, 24.2 x 16.4 cm, string-bound Japanese style, fukuro-toji. Design-printed paper covers. Kôrin was a neo-Rimpa designer of considerable importance who did a lot of work for Unsôdô. Each of the two volumes of cloud designs includes ten pages of color printed abstract cloud images and 30 pages of black & white woodcuts. Good impressions throughout, the volumes are internally in very good condition, though the covers are soiled. The set:

SOLD

 

 

The small scale ZUKUSHI albums, UME, MATSU & HANA, are little jewels that bear close examination.

87423.[DESIGN] FURUYA KÔRIN. MATSU ZUKUSHI Ichi. Kyôto: Unsôdô, Meiji 38 [1905]. Oblong album, 18.3 x 24.9 cm, one page introduction and final colophon page, along with 50 designs on twenty-five pages of color woodcut designs on a pine-tree theme by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Well-printed with bokashi, tarashikomi and metallic inks. The "first" and only volume, no others published. A good copy of this fragile work, with some internal staining of facing pages which does not affect the images and with a new back cover overlay laid-down.

SOLD

 

 

 

 

84449.[DESIGN] FURUYA Kôrin. [No Title- Date Moyô HANA NO TSUKUSHI?]. Kyôto, Yamada Unsôdô, Meiji 38 [1905]. Oblong modified orihon, 18.3 X 25 cm. 25 pages of color woodblock printed designs (2 designs per page) by Kôrin, one of the best known and most revered of the Unsôdô designers. Metallic pigments and bright colors add to the vibrancy of these Neo-Rimpa patterns. The covers have lost their woodblock printed covers with title, but this appears to be work known as HANA NO TSUKUSHI: DATE MOYÔ. Includes the original colophon and appears to be complete internally - Unsôdô design book titles were often only placed on the front cover at that time so the loss of the covers have effectively removed the title. Good condition internally, very good impressions and colors.

SOLD

 

 

 

We close with Kôrin's two masterpieces. Large format works, lavishly printed, that capture the sumptuous nature of his design vision. The SHASEI SÔKA MOYÔ deserves a place beside the best of Sekka.

87953.[DESIGN] Furuya Kôrin, designer. SHASEI SOKA MOYO 2 vols. Kyoto: Unsôdô, Meiji 40 [1907]. Folding orihon albums, 24.9 x 18 cm. Printed paper over card covers, each volume with 25 double-page color woodblock prints of vegetal and flower designs by the important designer Kôrin. Lavishly printed and overprinted in metallic inks and mineral pigments to create a remarkably ornate surface. Perhaps the most unusual and sought after of Furuya Kôrin's works, here in very good printing and good condition with some browning of the paper and wear to the printed covers. Complete in two volumes, in a fitted clasped chitsu case

SOLD

 

 

 

Kôrin's SEIKA was originally published in 2 volumes, here reprinted soon after in one volume. The prints are large-scale and lovely. Produced with an incredibly rich and subtle palette - especially suited to several of the large vegetal patterns included. There is a large degree of variety in the subjects chosen and "feeling" expressed. Though a bit later printing, the strong wood grain patterning is used as a contributary element in several of the designs.

85075.[DESIGN] Furuya KÔRIN. SEIKA. Kyôto, Unsôdô, Meiji 36 [1903]. Tall folio folding album, 36.8 X 24.9 cm, Double-page table of contents and final colophon page. The latter indicates this is a "saihan", a reprint done a month after the first printing. There are 12 large double-page designs in color woodcut by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Superbly printed by Unsôdô in intense colors, metallic inks, etc.

There are one or two internal spots, and the covers are a bit worn, but overall a nice copy of a stunning and very scarce book. This book should be and will be ranked right along Sekka's as a masterpiece of the genre.

SOLD

 

A wonderful design album by an artist otherwise unknown to us, though printed by Unkindô.

87507.[DESIGN] Yamamoto SEKKEI, artist. YAMATO NISHIKI Ten. Kyôto: Unkindô, Meiji 34 [1901]. 24.4 x 17.7 cm. String-bound Japanese style, fukuro-toji, printed paper title label. 30 full page color prints. Beautiful impressions in overprinting and metallic inks after designs by Yamamoto, a protege of Furuya Kôrin. Despite the "ten" desgnation of this volume, which indicates that it should be the first of 3 volumes, it might be the only volume of a projected three-volume title: A listing in the 1902 Unkindô catalogue indicates that volumes two and three were forthcoming but not finished; yet, by the time Unkindô was absorbed into Unsôdô a few years later, the YAMATO NISHIKI is no longer listed in their catalogue. Also, the title does not appear in the exhaustive reference work: MEIJI TaishôZUANSHÛ NO KENKYU [2004]. Volume one [complete? of three?] of a very scarce title.

SOLD

 

 

 

 

 

Though done considerably later, during early Showa, printed by an offshoot of the Unsôdô craftsmen, MOMOCHIGUSA maintains a delicate and subtle strain of the Neo-Rimpa spirit.

85078.[DESIGN] Takeshita Kinchô. MOMOCHIGUSA. Kyôto, Uchida Bijutsu Shoritsu. Shôwa 9,10 [1934,5] 2 vols., folding albums of woodcut designs (25 double page prints per volume). In light green brocade over board covers, printed paper title labels. 25.4 x 17.1 cm. One plate in volume one has paper repair. Otherwise, in good to very good condition overall. Housed in the original chitsu clasped case with the original title label. Interesting epitome of Rimpa-style designs in light colors, each double page a combination of two designs in visual counterpoint. Complete.

SOLD

 

 

 

 

 

 

There were many other Unkindô/Unsôdô designers whose works merit extensive exploration. Some were young beginners in the design trade whose work was included in such beautiful periodical albums as the 15 volume SEI-EI series. In many cases their published works were few and far between. Ironically, some of the most inventive and daring, whose work strikes us as far ahead of the times did not garner much popularity in turn-of-the century Kyôto. In short, much of the most inventive work did not sell and is thus very scarce in the marketplace. By definition their works would be the most ephemeral. There was also a middle ground of designers whose works were sufficiently mainstream as to garner at least some modest popularity. Unkindô in particular was willing to devote entire albums to their production, which may, in fact, account for Unkindô's early bankruptcy. We owe Honda Ichiro a great debt for the design legacy his firm has left us.Though many of the following books fit under the rubric of Neo-Rimpa, their aspects of abstraction, daring color schemes, etc., add an element of danger to the mix. One can certainly see the designs adapted to the textile trade but there are also designs for flat surfaces, for fans, for pure fun.

These artists strayed a bit from the self-consciously Neo-Rimpa efforts of Sekka and Furuya Kôrin, Issui, etc. The thread is represented by such designers as Seikô, Tamahiro, Ryûkô, Keika and, especially, Tsuda Seifû (1880-1978). Seifû is perhaps the most influential of the lot. Early on he was influenced by the enormously important oil painter, printmaker and designer Asai Chu (1856-1907). Both men spent time in Europe and derived inspiration there. That said, they also were very cognizant of the threads of traditional east asian art and design, its materials and media. Capable in virtually every avenue of artistic expression, whether Western-inspired or traditional, between them over the course of a full century, they informed the substance of a new Japanese art in the 20th century. Asai Chu only lived for a few years after returning to Japan from Europe in the early 20th century. His dedication to a new design aesthetic is most ably represented by Seifû , who lived to be lived to be 98 years old and became the grand old man of Japanese culture in many realms. He was by no means prolific in his design work at the time and here we only have but one incomplete example of his pure design work. Born in 1880, he touched and was touched by virtually every significant trend and artist in Japan for the next century…. He was trained as a traditional artist as a boy. He also worked in Western oils, as well, bridging the gap between the competing schools of Western-style artists Kuroda Seiki and Asai Chu, because of his friendly relations with both. When Asai Chu turned to design as a medium of expression after his return to Japan in the early 20th century Seifû was there, exploring design for design's sake and creating bold combinations of color and form, often bordering on abstraction.

Seifû was also an intimate of Natsume Soseki, the great early 20th century novelist and a member of his Mokuyôkai Thursday group of artists and writers where he developed a reputation as a talented amateur poet.. When he went to France to study painting, he went along with Yasui Sotaro, the great oil painter of the early to mid 20th century. Seifû is one of the most important book artists before Onchi Kôshiro and created bindings for many contemporary classics, including most of Soseki's late masterpieces.

Illustrating the breadth of his influence, Seifû is also known for a striking "proletarian" oil painting, Gisei (1933), depicting a left-wing victim of government torture, the novelist Kobayashi Takiji, in gory realism. It hangs in the Tôkyô Museum of Art, one of the few works of protest from the 30s. Seifû had many faces and many talents.

 

His work as a young man in the design sphere is remarkable.

 

Though not really "design for designs's sake" he published a wonderful collection of woodblock printed book binding covers which illustrates the breadth of Seifû's contributions to design. He had access to some of the most important literary works of the time as his canvas.

 

83277.[BOOK DESIGN] TSUDA SEIFÛ, designer. SOTEI ZUAN-SHU Dai-Ishû. A COLLECTION OF ARTISTIC BOOKBINDINGS Executed by SEIFÛ TSUDA. Kyôto, Unsôdô, 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 good condition with occasional foxing, in the original cloth- covered clasped case.

SOLD

 

 

Here is an example of Seifû's more "pure" design work:

87913.[DESIGN] TSUDA Seifû, artist. KAMONFU 2 vols. Kyoto, Honda Ichijirô, Meiji 33 [1900]. 25.2 X 17.9 cm. Tassel-bound, Japanese style, printed paper covers. Tsuda Seifû was a painter, illustrator and designer of incredible flexibility, one of the most influential masters of the 20th century, and Honda Ichijirô a leading publisher of his day. These 80 full-page color woodcut designs are extremely well-printed with heavy opaque colors and metallic inks. An important example of the design genre, this is a complete copy of a scarce work that shows just a bit of edgewear, two plates that are trimmed at the bottom margin (not affecting the images), and a few toned leaves, else in very good or better condition. For more on this work, see pp. 20 & 21 of the recent catalogue ZUANCHO IN KYOTO [Trujillo & Mitsui, Stanford University Libraries, 2008].

$2,500.00

 

 

 

 

 

 

 

A tradiitional "Nihonga" Japanist eccentric scroll painted by Seifû.

87805.[KAKEMONO - HANGING SCROLL] Tsuda SEIFÛ, artist. "MOMOKAWA" LANDSCAPE PAINTING OF A MOUNTAIN STREAM, DANCING CRANES. Hanging scroll, image size 135.2 X 33.4 cm. Beautifully mounted on brocade with BONE jiku. The painting is signed and sealed by Seifû (1880-1978), an extraordinarily influential artists and designer who painted in oils, in traditional watercolor on silk and paper, created designs and bookbindings, etc., etc. A protege of such masters as the designer Furuya Kôrin and the author and poet Natsume Sôseki and later an influence upon generations of creative artists, Seifû has here created a free and easy Nihonga work in color ink on silk, dated Taishô 10 [1921] and sealed by him. Its eccentric spirit seems to have a touch of Tomioka Tessai to it. Certainly they must have met, as Seifû illustrated several design books with calligraphed encomia done by Tessai in the 1900s. But, in any case, it is also reminiscent of some of the book-bindings he was doing during the same period. The brushwork and calligraphy are first-rate, the presentation impeccable.

In a wooden box and worn outer cardboard slipcase with written title label.

$2,500.00

 

 

 

 

 

 

Shimomura Tamahiro [1878-1926] was an important designer who contributed much to the Kyôto textile design world. This particular volume, done late in his life, retrospectively explores his designs as art. Many woodblock illustrations are included, as are collotypes, as well. Beside this GASHÛ, he also produced such classics as MEIJI BURI, GENJI BURI, SHIKI NISHIKI, etc., during the zenith of Unkindô publication.

87751.[DESIGN] Shimomura TAMAHIRO. TAMAHIRO GASHÛ. Kyôto & Tôkyô: Unsôdô, Taishô 14 [1925]. Single sheets cord-bound into illustrated boards with a printed paper title label. 36.2 X 25.3 cm. There are 16 pages of color woodblock printed designs and 30 pages of b+w collotypes. One of the hybrid design books that Unsôdô created in the 20s and 30s. Very clean and bright in the original publisher's slipcase. A very unusual and late effort by Tamahiro [1878-1926], an important Unsôdô designer who began his work for them at the turn of the century. Even more unusual in such lovely original condition. Complete.

$1,500.00

 

 

 

 

Hasegawa Keika was known for his wonderful work on chrysanthemums (seen above at #12) but he was also an important designer, as well.

87505.[DESIGN] Hasegawa KEIKA. KEIKA ZUAN Kôhen Jô. Kyôto: Unsôdô, Meiji 37 [1904] Design printed covers, string-bound, Japanese-style, fukuro-toji, 24.7 x 18.0 cm. 40 pages of color-printed designs by the important artist, Keika, lavishly printed in color and metallic pigments. The first volume of the second series of design books by him. Near fine condition, very good impressions and colors.

SOLD

 

 

 

 

 

 

87504.[DESIGN] Hasegawa KEIKA. KEIKA ZUAN GE. Kyôto: Unsôdô, Meiji 36 [1903]. 24 x 16.3 cm. Design printed covers, string-bound Japanese style, fukuro-toji. 40 pages of color-printed designs by the important artist Keika. Lavishly printed in color and metallic pigments, it is the second volume of the first series of design books by him. Near fine condition, very good impressions and colors.

SOLD

 

 

 

 

 

 

 

87822.[DESIGN] Taniguchi KOKYO, artist. KODAI MOYO Ichi, Ni. Kyôto, "saihan" Taishô 7 [1918]. 36.3 x 25.0 cm., woodblock-printed covers, tassel-bound, fukuro-toji. Kôkyô (1864-1915) was born into a cloth merchant family, adopted into the Taniguchi family and became a student of Kôno Bairei. Important in Kyôto art circles, here he serves as an Unsôdô designer. There are 25 pages of color woodblock prints of designs based on traditional motifs in each of the two volumes, plus an additional 11 pages of fan designs in volume two, so 61 pages of designs in all. There is a bit of interest bibliographically regarding this book.... If one looks at the Unsôdô English language catalog of 1915, this book is listed as having 10 volumes. Yet, the colophon of this copy of ours clearly states that the set is complete in two volumes, as here. Now, the first printing was done in 1911. One might hypothesize that the original edition of 1911 consisted of two volumes, that plans were made to expand it to 10 volumes, but by the time the "saihan" reprint was done in 1918, those plans had been dropped. In any event a good impression with good colors, very good condition overall. Some striking images are included in the mix.

$2,400.00

 

 

 

 

 

 

 

Unkindô was as daring as its designers. Here they created a very unusual series of one sheet design "collages" which integrated on a single surface a number of different designs by Ryûkô.

87627.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #1. Kyôto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. A bit browned and edgeworn, it is number 1 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.

SOLD 

 

 

 

87628.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #2. Kyôto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. A bit browned and edgeworn, it is number 2 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.

SOLD 

 

 

 

87629.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #3. Kyôto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. A bit browned and edgeworn, it is number 3 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.

SOLD 

 

 

 

87490.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #4. Kyôto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 4 from an unknown number of such single sheet designs. Very unusual, unknown in the literature.

SOLD 

 

 

 

87510.[DESIGN] Gotô Ryûkô. HANA NO NISHIKI #5. Kyôto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 X 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 5 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.

SOLD 

 

 

 

 

 

A bold and beautiful 'design for design's sake" album. Seikô also produced at least one other wonderful album, MOISOKATA, but little is known of him.

85272.[DESIGN] Mizuta Seikô, artist. MIZU NO NAGARE. Kyôto: Honda Unkindô, Meiji 37 [1904]. Oblong folio, ribbon-bound printed wrappers, 25.5 x 36.8 cm. An interesting Neo-Rimpa design book in large format comprised of 11 color woodcuts, well conceived and extremely well printed. The overall condition is very good, as are the impressions. Very unusual work. In a custom clasped chitsu case.

$4,500.00

 

 

Though largely representational, there are also several wonderfully inventive designs in this album by Toshu..

87586.[DESIGN] MATSUI Tôshû, designer. YÛKI GACHÔ, 2 vols. Kyôto: Unkindô, Meiji 34. Tassel-bound, Japanese-style in stiff paper covers, with printed paper title labels. 25.0 x 17.7 cm. 50 full-page color woodblock prints, plus one bifold and one trifold woodblock frontispieces. Tôshû was a known Nihonga-style artist in his own right. This is an interesting and scarce group of designs and representational prints from the heyday of Unkindô production. A few worm holes, else very good condition, impressions and color. Complete.

SOLD

 

 

 

 

 

 

All through the Kyôto design era, there were series and periodicals which explored the design world and published well-printed examples of new design created by up and coming designers.

The important series BIJUTSUKAI is full of lovely work by designers from the late Meiji era.

87637.[DESIGN] UNSÔDÔ, Publisher. BIJUTSUKAI Kan no Go-jû-go. Kyôto, Unsôdô, Meiji 33 [1900]. 24.3 x 16.4 cm The fifty-fifth volume of the BIJUTSUKAI design series. 20 color woodcuts, each artist is identified. Scribbles on the covers, tassels are missing, else good condition and complete.

SOLD

 

 

 

 

 

 

 

87636.[DESIGN] UNSÔDÔ, Publisher. BIJUTSUKAI Kan no San-jû. Kyôto, Unsôdô, Meiji 31 [1898]. 23.9 x 16.2 cm The thirty-first volume of the BIJUTSUKAI design series. 18 color woodcuts and a folding color frontispiece. The frontispiece is by Shibata Zeshin. A tear to the back cover, tassels are missing, else good condition and complete.

SOLD

 

 

 

 

 

85291.[DESIGN] UNSÔDÔ, Publisher. BIJUTSUKAI Kan no San-jû. Kyôto, Unsôdô, Meiji 31 [1898]. 24.1 x 16.5 cm The thirtieth volume of the BIJUTSUKAI design series. 18 color woodcuts and a folding color frontispiece. The frontispiece is by Kamisaka Sekka. Good condition.

SOLD

 

 

 

 

 

87600.[DESIGN MAGAZINE] Fukada Zuan Kenkyûsho. GENDAI NO ZUAN; GENDAI NO ZUAN KÔGEI; ZUAN TO KÔGEI. Tôkyô, Taishô 4 [1915] to Taishô 13 [1924]. 23 issues of this important periodical on design in Japan. The dominant aesthetic is a Japanese version of Art Deco. Each issue has many illustrations, several of which are in color and the covers are classics. There are hundreds of pages of interesting and informative articles on contenporary design by critics and artists alike. By 1922, it dropped the "GENDAI" ["CONTEMPORARY"] from the title and the last 4 issues here are much less oriented to Art Deco and more inclusive of traditional and folk design, as well. Overall there is some browning but the general condition is quite good. The magazines are individually complete. A very scarce periodical, here preserved in a good-sized archive which is, of course, only a partial run.

$3,850.00

 

 

 

 

 

Kawarasaki Koto was a talented and prolific designer who did most of his work for the Bijutsu publishing company in the 1930s

87847.[DESIGN] Kawarasaki Kôtô. Monyô HANA NO SHIORI. Kyôto, Uchida Bijutsu, Shôwa 9, 10 [1934,5]. 3 vols., 36.5 x 24.5 cm, orihon folding album in printed paper over board covers, printed paper title labels. Each volume profusely illustrated in lovely, delicately printed color woodblocks, 2 designs per page. Each volume has 25 pages of prints, 75 all together, thus 150 designs. Very good impressions, subtle color, the original publisher's clasped chitsu case is worn, the book covers are a bit soiled, stained and rubbed, but internally in good condition. Complete.

$1,950.00

 

 

 

 

 

87931.[DESIGN] KAWARASAKI, Kôtô. MIZU HYAKUSHU. Kyôto, Uchida Bijutsu, Shôwa 12 [1937]. 2 vols., bound orihon in woodblock printed paper over board covers. The first set of the MIZU HYAKUSHU 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 near perfect condition with ownership labels on the inner rear pastedowns of both volumes. In the original publsiher's clasped chitsu case.

$2,500.00

 

 

 

 

Mitsukoshi Department Store's run of SAIKA from early Shôwa

85761.[DESIGN] Saikasha. SAIKA. Tôkyô 1924-9. 30 issues bound into 10 volumes (out of 36 issues bound in 12 volumes). Significant run of the SAIKA series which captured Japanese and Asian design in all its manifestations - objects, utensils. fabrics, rugs, architectural elements, lacquerware, cloisonnee etc., etc. There is a total of approximately 500 plates, of which about 100 are color woodblock printed and another dozen or so are color collotypes and color lithographs. The remainder are collotypes and offset. An interesting series, from the reference library of the Mitsukoshi Department Store. Two of the volumes are disbound with a few plates missing, but they have the original covers. Sold with all faults, and priced accordingly. Unusual set.

$975.00

 

 

 

 

Let us close with a set of design albums in manuscript with nearly 1000 hand-drawn designs. The designs span and reiterate the period we are covering in this first part of the design survey. Most probably created inhouse by a Kyôto textile firm.

87684.[DESIGN] FOUR LARGE MANUSCRIPT AND STENCIL ALBUMS OF DESIGN. ZUAN-CHÔ. 26.5 X 37.8 cm. n.p., n.d. [c. Late Meiji - early Shôwa era; 1895-1935] This is a working collection of designs, bound into double-sided orihon folding albums in cloth covered board covers, two of which have the remains of hand-brushed titles - "Zuan-chô", one being "nanashû", that is, volume 7. So we know that this is only part of a larger reference library of designs, probably from a textile house, probably from Kyôto. The designs span at least a few decades of stylistic evolution. All told, there are some 888 hand-drawn and/or hand-stenciled patterns mounted on some 413 pages. The designs are individually labeled and numbered in the margins. An astonishingly rich and beautiful compendium of original design art, it is a remarkable resource. Some covers are detached, and a couple of bookblocks are split. The designs are skillfully done, though some show a bit of wear and some occasional soiling, and are in quite good condition overall.

$9,750.00

 

 

 

PART TWO: HYBRID PRINTING, COMMERCIAL ART, ETC.

 

In a visual culture as rich as Japan's there was of course a great variety of design besides that dominated by the world of Kyôto-based textile dyers, who continued to employ woodblock-printed albums as they had for several centuries. From the material side, there were those who sought to take advantage of other media to create designs, to reproduce them with new printing techniques such as lithography, photoengraving, machine-printing and the like. From the economic aspect there were those who were reaching out in new directions - discovering and exploring design as an instrument of persuasion in commercial art and, by extension, propaganda, as well.

 

Wada Sanzô (1883-1967) was a long-lived printmaker, painter and costume designer who also contributed to the world of two dimensional design. His CREATIVE DESIGN portfolios are perhaps his most important contribution to the field. They are printed in various hybrid techniques, as pleasant design innovations...

 

 

87764.[DESIGN] WADA Sanzô. SÔSAKU ZUANSHÛ 1-12. Tôkyô, Kokumin Zusho, Taishô 14 [1925] 12 folio fascicules, all published, each containing 8 sheets of color designs, so 96 sheets in all, with multiple designs per page, printed in hybrid methods including various flavors of lithography and machine printed woodcut. Exotic, fanciful, lovely... This is early Wada and very interesting. Near fine condition throughout with all 12 folders included. Complete

SOLD

 

 

 

Oda Kazuma (1881-1956) was an important printmaker who was associated early on with HÔSUN magazine. Though he also produced designs to be be printed in color woodcut - some published by Watanabe Shôzaburo, his special love was lithography. As this example shows, he was also involved with more utilitarian concepts of design, as well.

 

 

86937.[DESIGN] ODA Kazuma, artist and designer. ÔYÔ ZUAN Gekkan Dai-ichi-go. Tôkyô, Papiyon Zuansha, Taishô 7 [1918]. Folio-sized wrappers, 34.5 x 24.2 cm. This "Practical Design" monthly features the work of Oda Kazuma (1882-1956) in this, its first issue. This issue features articles on the use of electric lights at night for advertising with a note at the end on some recent advertising posters that have appeared. Obviously a periodical by professionals for professionals in the design and advertising world. Not a world one usually thinks of Oda Kazuma belonging to, but here he turns his talents at lithographic printmaking to more practical ends, with several examples of advertising designs and commercial art. Very good condition throughout. Very unusual.

$1,850.00

 

 

 

 

85504.[DESIGN] KÔSHÛ "SCARLET SLEEVES". Kyôto: Kishi Hanga Insatsu-sho. "Shôwa [no exact date]" c. 1930. 33.0 x 23.5 cm. Folding orihon album in paper-covered boards with printed paper title label. 10 full page color woodblock print designs. The covers are worn, but the prints are very clean andvery well printed. A very nice example of the design genre between the wars in Japan.

SOLD

 

 

 

 

 

 

As we will see from the example of Sugiura Hisui, below, Japanese department stores were tremendously important as loci of taste in the 20th century. The first modern department store was Mitsukoshi, founded in 1910, and others like Shirokiya, Matsuzakaya, etc. began soon after. Some like Mitsukoshi were direct descendants of kimono shops with roots back to the 17th century and, as such, had a keen appreciation for the importance of design and for fashion. The department store evolved into a purveyor of deluxe goods in general, not just traditional but imported ones as well. (By the 1920s customers were no longer required to remove their footwear when entering - a significant innovation.) In pursuit of the goal of cultural education and plain old advertising, they published monthly house magazines for distribution to their often well-heeled clientele.

 

 

 

86927.[DESIGN] Shirokiya Department Store.  38 COVERS FROM RYÛ KÔ MAGAZINE. Tôkyô, Taishô era design, done by the design staff, including Furuta Tachiji, of Shirokiya Department store for this, their monthly magazine. Here we have a group of 38 front covers, removed from the original magazines. They were trimmed by a collector to uniform size andstab bound into an album. Here removed again, they provide a repositury of Taishô chic design at its best. Save for the trimming and occasional foxing, in very good condition.

$1,450.00

 

 

 

 

 

Perhaps the most important figure in this 20th century intersection of design and advertising was Sugiura Hisui (1876-1965). He began his study of art in the traditional Shijô school, then under the important transitional artist Kawabata Gyokushô. He attended the Tôkyô School of art and studied Western styles under Kuroda Seiki. Soon after the turn of the 20th century he became involved in industry as a designer, joining Mitsukoshi's staff as a part-timer, then joining them full time as head designer in 1910 - the year they founded the Mitsukoshi Department Store. He was primarily responsible for the Mitsukoshi "look" we now know as an element of "Taishô Chic". He has been re-discovered in Japan and a series of retrospective exhibitions of his works across many media: prints, paintings, posters, book bindings, postcards, etc., etc., have been mounted.

 

 

 

85515.[DESIGN] Sugiura HISUI.  KODAKARA. Tôkyô: Mitsukoshi Gofukuten, Meiji 45 [1912]. 29 x 23.5 cm., decorated boards and cloth, in decorated dustwrapper and original tied decorated portfolio covers. A lovely package, designed and illustrated by Hisui (1876-1965), the head designer for Mitsukoshi for the first half of the 20th century, and one of the most important commercial designers of his day. Profusely illustrated throughout in color lithographs and relief prints. The text was written by Iwaya Sazanami, this wonderful book was created for the new mothers of the burgeoning middle class who were buying their baby clothes and furnishings at Mitsukoshi. It was meant as a child's diary of development. from birth to the age of seven. Originally published in 1909, this second printing is nearly perfect (there is some spotting to the tied outer covers) and original and, as such, very scarce and desirable. [See pp. 70-71 for more on this book in the Hisui special issue of the magazine, HANGA GEIJUTSU, #140, Summer, 2008.] Near fine.

$3,850.00

 

 

 

 

85882.[DESIGN] Sugiura HISUI. HISUI KACHÔ ZUAN-SHÛ. Tôkyô, Heiandô Shobô. Taishô 6 [1917] The first printing. Portfolio of preliminary materials including a table of contents, followed by 50 numbered sheets of designs printed using woodcut, some machine printed but most printed by hand from multiple blocks. The blocks were cut by Iida Shigezô, the printing done by Enomoto Kinsaburô. A wonderful epitome based on bird and flower motifs, of Taishô-era "chic". Designs for book publications, sheet music covers, posters, etc., etc. Hisui, responsible between the wars for Mitsukoshi department stores' trendsetting design and publicity, has been rediscovered within the last decade. There was a wonderful retrospective on his work done at the Tôkyô Museum of Modern Art in 2000 and his portfolios are very sought-after. Very good over all, complete. In the original printed publisher's slipcase.

SOLD

 

 

 

86899.[DESIGN] Sugiura HISUI. 44 COVERS FROM MITSUKOSHI MAGAZINE. Tôkyô, Meiji 44 to Taishô 6 [1911-1917] Hisui, perhaps the most influential design figure in the development of "Taishô Chic",joined the Mitsukoshi firm in 1908 at the age of 32 as a part-time designer and became their head of design two years later. His graphic work on the covers of the monthly Mitsukoshi magazine marked the beginning of his rise to prominence and he would spend decades as an illustrator and book designer thereafter, a prime mover in the spread of a native Deco design tradition in Japan. Here we have a group of 44 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a remarkable record of Hisui's graphic genius. Save for the trimming and occasional foxing, in very good condition.

$2,850.00

 

 

 

 

84702.[DESIGN] Sugiura HISUI.  HISUI ZUAN-SHÛ. Tôkyô, Kanao Tanejirô [Bun'endô]. Taishô 4 [1915], the first printing. Folder of 50 numbered sheets of 187 designs in various media and styles (woodcut, lithograph and offset). A wonderful epitome of Taishô-era "chic", produced by Bun'endô, perhaps the finest publisher of the time using all the most advanced techniques. Designs for book publications, sheet music covers, posters, etc., etc. Hisui, responsible between the wars for Mitsukoshi department stores' trendsetting design and publicity, has been rediscovered within the last decade. There was a wonderful retrospective on his work done at the Tôkyô Museum of Modern Art in 2000 and his portfolios are very sought-after. About very good over all, contains 48 original printings of the 50 plates, along with color copies of plates 2 and 29, missing from this portfolio and here supplied in facsimile. Though titled the "first series", it is believed no further work was published under this title. In the tied portfolio but without the slipcase.

$3,250.00

 

 

 

 

 

84668.[KAKEMONO - HANGING SCROLL] Sugiura HISUI, artist.  PAINTING AND POEM - Red Fuji. Hanging scroll, image size 52 1/4" X 26 1/2". Beautifully mounted on brocade. The painting is signed and sealed by Sugiura Hisui (1876-1965), responsible between the wars and after for Mitsukoshi department stores' trendsetting design and publicity. He has been rediscovered within the last decade. Among a number of other shows illustrating his role in creating "Taishô chic", there was a wonderful retrospective on his lifetime of work hung at the Tôkyô Museum of Modern Art in 2000. This large and lovely work reveals his debt to tradition. With a presentation letter from him to a professor acquaintance, Hiruma Masamichi, dated New Year's day, Shôwa 40 (1965), the year Hisui died. A note on the box indicates this scroll was hung at the influential Issuikai annual exhibit. Impeccable condition in a scroll box and outer slipcase.

$4,850.00

 

 

 

 

The publishing firm of Seibundô in Tôkyô was vital to the development of commercial art and advertising in late Taishô and early Shôwa. Besides the important professional advertising monthly KÔKOKKAI, in 1930, they produced a wonderful series of design portfolios for professionals in the advertising world, the KÔKOKU ZUANSHÛ. Each was dedicated to a specific retail trade: from shoes to radios. Each portfolio contained 50 b+w and color plates, with sample ads, posters, shop signs, typography, etc. There was also a mini-biography of the author of the piece, each author being a practicing commercial artist and designer.

 

 

 

85174.[PREWAR ADVERTISING] MAEJIMA Sei-ichi, designer.  CHIKUONKI GAKKITEN KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing in phonograph albums and musical instruments. This volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall.Printed wrappers.

$985.00

 

 

 

 

 

85178.[PREWAR ADVERTISING] Murota Kurazô, designer.  YÔHIN BÔSHITEN KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing in Western-style hats. Murota was an important ad designer of the day. This volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall. Printed wrappers in the torn original folding covers. Scarce & complete.

$1,100.00

 

 

 

 

 

87185.[PREWAR ADVERTISING] Sawa Reika, designer.  YOFUKU KODOMOFUKU-TEN KÔKOKUZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing in western-style and children's clothing. Sawa Reika was an important designer and advertising photographer in his day. The volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall, with some internal foxing. Printed paper wrappers. Very unusual.

$1.100.00

 

 

 

 

 

86941.[PREWAR ADVERTISING] Matsubara Korenori, designer. TOKEI KINZOKU MEGANE-TEN KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing watches, jewelry, metalwork & eyeglasses. This volume consists of 50 pages of plates in both color and monochrome. In the original tied publisher's folding cover. Very good overall. Printed paper wrappers. Very unusual.

$1,200.00

 

 

 

 

 

85177.[PREWAR ADVERTISING] Tada Hokuchô, designer. GOFUKU MUSURINTEN NO KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to muslin dry goods shops. This volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall. Printed wrappers in the original, torn, folding cover. Scarce, complete.

$1,100.00

 

 

 

 

85850.[PREWAR ADVERTISING] Tada Hokuchô, designer.  GOFUKU MUSURINTEN NO KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to muslin dry goods shops. This volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall.

$985.00

 

 

 

 

85459.[PREWAR ADVERTISING] Matsubara Korenori, designer.  TOKEI KINZOKU MEGANE-TEN KÔKOKU ZUANSHÛ. Seibundô, Tôkyô, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing watches, jewelry, metalwork & eyeglasses. This volume consists of 50 pages of plates in both color and monochrome. Some edgewear, internal foxing, about good overall. Printed paper wrappers. Very unusual.

$850.00

 

 

 

 

 

In 1932, they re-issued the series under a different set of titles. Here, the original designers' names and biographies have been dropped.

 

 

87635.[PREWAR ADVERTISING] Edited by Shôtenkaisha.  YÔHINTEN HANJÔSAKU. Seibundô, Tôkyô, Shôwa 7 [1932]. 30.0 X 21.8 cm. From an important series of design portfolios originally produced by Seibundô in 1930. The original title of this work was YÔHIN BÔSHITEN KÔKOKU ZUANSHÛ and the attributed designer was Murota Kurazô. That original series was distinguished as the Advertising Design [Kôkoku Zuanshû] series. By 1932, the series had been retitled the Hanjôsaku [Planning for Profit] series and all reference to the original designers was dropped, new text was added, etc. In addition, it was bound in boards. This one is dedicated to shops specializing in western style clothing, especially hats. This volume consists of 50 pages of plates in both color and monochrome. About good overall. In the original (edgeworn) publisher's slipcase.

$750.00

 

 

 

 

 

 

85507.[PREWAR ADVERTISING] Edited by Shôtenkaisha.  YÔHINTEN HANJÔSAKU. Seibundô, Tôkyô, Shôwa 7 [1932]. 30.0 X 21.8 cm. From an important series of design portfolios originally produced by Seibundô in 1930. The original title of this work was YÔHIN BÔSHITEN KÔKOKU ZUANSHÛ and the attributed designer was Murota Kurazô. That original series was distinguished as the Advertising Design [Kôkoku Zunshû] series. By 1932, the series had been retitled the Hanjôsaku [Planning for Profit] series and all reference to the original designers was dropped, new text was added, etc. In addition, it was bound in boards. This one is dedicated to shops specializing in western style clothing, especially hats. This volume consists of 50 pages of plates in both color and monochrome. About good overall.

$750.00

 

 

 

 

 

 

85506.[PREWAR ADVERTISING] Edited by Shôtenkaisha MAEJIMA Sei-ichi, designer. RAJIO CHIKUONKITEN HANJÔSAKU. Seibundô, Tôkyô, Shôwa 7 [1932]. 30.0 X 21.8 cm. From an important series of design portfolios originally produced by Seibundô in 1930. The original title of this work was CHIKUONKI GAKKITEN KÔKOKU ZUANSHÛ and the attributed designer was Maejima Sei-ichi. That original series was distinguished as the Advertising Design [Kôkoku Zunshû] series. By 1932, the series had been retitled the Hanjôsaku [Planning for Profit] series and all reference to the original designer was dropped, new text was added, etc. In addition, it was bound in boards. This one is dedicated to shops specializing in phonograph albums and musical instruments. This volume consists of 50 pages of plates in both color and monochrome. The front hinge is starting, about good overall.

$750.00

 

 

 

 

 

 

The professional advertising and commercial art journal, KÔKOKKAI, began publication in 1923 and continued into the depths of the Pacific War period. Full of thorough and systematic articles on the theories behind the mechanisms of mass persuasion, the journal was world-class. Heavily illustrated with visual and textual examples of the subjects discussed.

 

 

87772.[ADVERTISING ART - JAPAN].  KÔKOKKAI. THE PUBLICITY WORLD. Jitsuyô Kôkoku-shû. Volume 5, number 5. Tôkyô, Shôtenkai-sha, Shôwa 2 [1927]. Decorated paper wrappers. 26.0 x 19.2 cm. 80 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the cover, the text is entirely in Japanese. A special issue on "practical advertising". Ephemeral issues from early Shôwa have largely disappeared, especially with the foldout plates included in them. Good condition overall, but with a corner missing from the front cover and priced accordingly. Complete.

$245.00

 

 

 

 

86607.[ADVERTISING ART - JAPAN].  KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 1. Tôkyô, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$375.00

 

 

 

 

86604.[ADVERTISING ART - JAPAN].  KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 6. Tôkyô, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge opf photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$350.00

 

 

 

 

86617.[ADVERTISING ART - JAPAN]. KÔKOKKAI. COMMERCIAL ART ADVERTISING. Volume 13, number 10. Tôkyô, Seibundô, Shôwa 9 [1936]. Decorated wrappers. 26.3 x 19 cm. 88 pp. The special Olympics issue (Tôkyô had been granted the games for 1940 - a games which were never held, of course.) Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. Though the covers are a bit loose.

SOLD

 

 

 

 

86616.[ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING COMMERCIAL ART. Volume 12, number 8. Tôkyô, Seibundô, Shôwa 9 [1935]. Decorated wrappers. 26.3 x 19 cm. 88 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$425.00

 

 

 

 

86613.[ADVERTISING ART - JAPAN].  KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 8. Tôkyô, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall.

$385.00

 

 

 

 

87787.[ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING ART MONTHLY. Volume 17, number 5. Tôkyô, Seibundô, Shôwa 15 [1940]. Decorated wrappers. 26.3 x 19 cm. 88 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall, with just a bit of corner loss to the front cover and a few initial pages.

$385.00

 

 

 

 

86611.[ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 9. Tôkyô, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared.

$350.00

 

 

 

 

 

86581.[ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 9. Tôkyô, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page, inside the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. Reduced price because the lower left corner of the cover and first 5-10 pages are damaged.

$185.00

 

 

 

This encyclopedic set of professional works on commercial and advertising art was produced by the important art publisher ARS. It is a precis of the field, full of important and interesting information on the state of the art in 1928.

 

 

86038. [COMMERCIAL ART].  GENDAI SHÔGYÔ BIJUTSU ZENSHÛ THE COMPLETE COMMERCIAL ARTIST 24 volumes. Tôkyô, ARS, Shôwa 3 [1928] 24 large slender 8vo. vols., this edition bound in decorated wrappers, the set is a bit rough externally, volume 13 is missing its front cover, all but five of the other volumes are missing their slipcases. That being said, the set is quite clean and bright internally and complete. A remarkable compendium, heavily illustrated in color and b+w, exploring the whole world of commercial art, in Japan and abroad, for the professional designer. With remarkable articles by the leading proponents of Japanese advertising and commercial art of the day. One occasionally finds odd volumes of this thematically organized work, but it is very unusual thus, complete. Essential reference to late Taishô, early Shôwa culture. Complete, very good

SOLD

 

 

A remarkable subset of commercial art and design is the world of posters. Posters are by their nature ephemeral and pre-War Japanese posters especially so, given the destruction of urban Japan at the end of the Pacific War.

 

 

 

87777.[POSTER ART].  BIJUTSU POSUTAA MEISAKU TAISHÛ COMMERCIAL ART. Tôkyô Taiyô-sha, Shôwa 13 [1938] 1st printing. 8vo., yellow decorated paper over boards. Illustrated throughout with poster designs in monochrome. Very good.

SOLD

 

 

 

 

 

 

 

85300.[JAPANESE POSTER] NIPPON BEER. EBISU SAPPORO GA KAIMEI SHIMASHITA. 34.5 x 74 cm., Interesting graphic in black and white of beer bottles. "Ebisu and Sapporo have changed their name." All the beer bottles are labeled "Nippon Beer". Most probably dating to the late 1940s, when such a (temporary) name change was made. a stain at one corner of the poster, else very good condition.

SOLD

 

 

 

 

 

 

85301.[JAPANESE POSTER] Victor Records.  KARUMEN. 79 X 36.3 cm. Lovely prewar poster advertising a recording of Bizet's CARMEN, as performed at the Paris Comic Opera. Foreground is picture of Carmen, herself, on stage. With closed edgetears, else bold, bright and clean.

$675.00

 

 

 

 

 

 

85302.[JAPANESE POSTER] Victor Records. TOYOTAKE KONIN TAIYU. 79 X 36.3 cm. Lovely prewar poster advertising a recording of a Jôrûri puppet play gidaiyu reciting for the play NOZAKI MURA [NOZAKI VILLAGE]. The image is of a lovely (albeit a bit cross-eyed) beauty in lavish hair and costume. Very good condition with a few slight closed edgetears, else bold, bright and clean.

$375.00

 

 

 

 

 

 

85303.[JAPANESE POSTER] Asahi Shimbunsha. DAICHÔWA-TEN. 60.8 X 42.5 cm. An attractive prewar poster from 1928, that shows a lovely nude from behind, advertising a painting exhibition held at the Asahi newspaper building. Very good condition, subtle coloring, bright and clean.

$375.00

 

 

 

 

 

 

85304.[JAPANESE POSTER] Victor Records. Kabukigeki SHINSARAYASHIKI. 79 X 36 cm. Prewar poster advertising a recording of a modern Kabuki play, the "(new) Plate Mansion" the cast of which included Okami Kikugoro. The image is of the missing and broken) plate alluded to in the title. Very good condition with a few slight closed edgetears, else bright and clean.

$285.00

 

 

 

 

 

 

85308.[JAPANESE POSTER] Ôsaka Mainichi Shimbunsha.  KAGAYAKU NIPPON DAIHAKURANKAI [THE GREAT EXHIBITION OF BRILLIANT JAPAN] & KAGAYAKU NIPPONHAKU Annaiki. The poster was printed by Ôsaka Seihan printing company in their patented high-quality "HB" process, which they used to reproduce the effect of color woodblock, etc. With an (unread) artist's seal. Dated on the recto April/May 1936 this large poster (60.8 X 107 cm.) displays bold colors and near abstract design which shows the progress of Japanese industry as a freighter ship evolves pictorially in ascent through a great gear wheel, to an airplane, and then a skyscraper with pennants, all mediated by repeated circular images of a golden sun and red sun akadama images from the national flag. Considering its size, the fragility of the paper and its age, the edgewear and creasing, along with a bit of foxing, leaves this piece still unusually clean and bright with older backing and color restoration. Presents very well. Perhaps the most interesting and arresting piece of industrial art design from its time we have seen in a poster format. The accompanying large 8vo. brochure in color wraps is the guidebook for the Exposition. Printed as a revised edition at the time of the show, 1936. Illustrated internally with b+w photo illustrations of exhibits, ceremonies, etc., etc. The rear cover reproduces the very poster that we are offering here. The guidebook is quite worn, with some paper repairs. Very scarce and interesting combination of these ephemeral items from Japan's prewar golden age of design.

$2,950.00

 

 

 

Matchbox covers and commercial labels, like postcards, etc., work within the constraints of small size to demonstrate commercial art literally at its most eye-catching and attractive.

 

 

 

 

86884.[DESIGN]. SAIKÔKYÛ MIRAAKOOTO-KAMI TOPPAN-ZURI OODAMATCHI MIHONCHÔ NP, ND [Japan, 1960s?]. 16.3 X 24.5 cm. Leatheroid covers, 23 pages of 5.5 x 8 cm designs for matchbox covers, done in a "mirrorcoat" process of relief printing. One sample clipped for color matching. The back covers is loosening. Overall, a good copy of this very scarce and ephemeral catalogue.

$325.00

 

 

 

 

86879.[DESIGN]. TOPPAN 65. NP [Japan, 1964]. 18.7 X 27.5 cm. 2p + 44pp. Very interesting salesman's sample book of designs for matchbox labels. Stiff wrappers. Relief printed designs for washi papers. Over 200 designs for 8.5 x 5.5 and 3.7 x 5.5 cm sizes. 8 paper samples. Overall, a good copy with a torn cover of this very scarce and ephemeral catalogue.

$450.00

 

 

 

 

 

87802.[ADVERTISING - 20TH CENTURY MATCHBOX COVERS].  A COLLECTION OF APPROXIMATELY 1300 MATCHBOX COVERS, LABELS AND ADVERTISING CARDS DEPICTING A VARIETY OF PRODUCTS, BUSINESSES, AND PASTIMES. A collection of carefully preserved matchbox covers, labels and advertising cards tipped-in to 2 commercially manufactured scrapbook albums. The albums are bound in heavy card stock. They are roughly 30 x 22 cm. each but are not uniform in appearance. The labels vary in size from 3.5 x 5.5cm to 7.5 x 11cm. Most are of the smaller size. The images on them include advertisements for restaurants and cafes as well as brands of clothing, alcohol, cars, bicycles and motorcycles.

$975.00

 

 

 

 

87246.[ADVERTISING - EARLY 20th CENTURY COMMERCIAL LABELS].  A CONTEMPORARY COLLECTION OF HUNDREDS OF LABELS ADVERTISING A VARIETY OF JAPANESE POTABLES: FRUIT SYRUPS, SODAS, SAKE AND WINE, EVEN COGNAC AND GIN, ETC. Brilliantly colored labels are tipped-in to three commercially manufactured scrapbook albums. The albums are bound in heavy card stock covers with "scrap book" printed on upper boards and spines. 29.8 x 21 cm. 48; 46; [86] pp. The first two albums are just about full; while the third album is about one-third full. 438 labels are artfully arranged across the pages of the three albums. The labels vary greatly in shape and size, from a small circular label that is 3 cm in diameter to a large rectangular label that is 19 x 26 cm. Of course, the majority of labels fall somewhere between those extremes. Most of the beverages advertised are of Japanese manufacture with only a handful of labels advertising imported beverages. Assembled by a collector in Japan, most probably before the War. Very clean and bright condition throughout.

SOLD 

 

 

 

Ocean liners were the ultimate symbol of high style - representing as they did adventure, disposable income and advanced culture..... OSK Lines appealed to a more middle class demographic than did NYK but they strove for a high society image.

 

 

87332.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 10, #12. Ôsaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87333.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 10, #4. Ôsaka, Shôwa 15 [1940]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87334.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 10, #10. Ôsaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87335.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 8, #9. Ôsaka, Shôwa 13 [1938]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87336.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 8, #10. Ôsaka, Shôwa 13 [1938]. 48+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87337.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 8, #2. Ôsaka, Shôwa 13 [1938]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published just before total war began in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87338.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 10, #1. Ôsaka, Shôwa 15 [1940]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87339.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 9, #2. Ôsaka, Shôwa 15 [1939]. 44 +pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.

$95.00

 

 

 

 

 

87340.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 9, #9. Ôsaka, Shôwa 15 [1939]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.

$95.00

 

 

 

 

 

87341.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 9, #4. Ôsaka, Shôw 15 [1939]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87342.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 9, #11. Ôsaka, Shôwa 15 [1939]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87343.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 12, #1. Ôsaka, Shôwa 17 [1942]. 28+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

87344.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 7, #6. Ôsaka, Shôwa 12 [1937]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. Very good.

$95.00

 

 

 

 

 

87345.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 8, #1. Ôsaka, Shôwa 13 [1938]. 76+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. A particularly deluxe production of this magazine. Very good.

$125.00

 

 

 

 

 

87346.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Issue 29. Ôsaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. Very Good.

$95.00

 

 

 

 

 

87347.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Issue 30. Ôsaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. A particularly interesting issue. Very good.

$125.00

 

 

[

 

 

87325.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 12, #11. Ôsaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war had begun in earnest with the Allies and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

87326].[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 11, #12. Ôsaka, Shôwa 16 [1941]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published as the fleet was approaching Pearl Harbor, the war with the Allies was soon to begin and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

87327.[OCEAN LINERS] Ôsaka Shôsen Kaisha. UMI Vol. 10, #2. Ôsaka, Shôwa 15 [1940]. 46+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87328.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 12, #5. Ôsaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.

$85.00

 

 

 

 

 

87329.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 8, #7. Ôsaka, Shôwa 13 [1938]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$85.00

 

 

 

 

 

87330.[OCEAN LINERS] Ôsaka Shôsen Kaisha.  UMI Vol. 10, #5. Ôsaka, Shôwa 15 [1940]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.

$95.00

 

 

 

 

 

87215.N.Y.K. LINE. NITTA MARU YAWATA MARU KASUGA MARU. A folding color brochure , one sheet, folding into 23 x 15 cm covers. Details the "three graces of NYK", the luxury liner flagships of the NYK line launched in 1940-41. The text is all in English, the illustrations quite striking. Overall a sad document, coming as it did at the end of an era. The entry of Japan into WWII was mere months away and the 3 ships ended up stripped of their luxury appointments. They were used first as troop ships and then as converted aircraft carriers. None of the three survived the war. Very ephemeral and unusual document of the era.

SOLD

 

 

 

 

The ADVANCE IN JAPAN shared some of the attributes of such high end propaganda magazines as FRONT: excellent typography and layout, skilled photography, etc.

 

 

 

85165.[JAPANESE MAGAZINE] Tôyô Bunka Kyôkai, publisher. GAHÔ YAKUSHIN NO NIPPON THE ADVANCE IN JAPAN. Tôkyô, Shôwa 15 [June, 1940]. Volume 5, #6. Printed illustrated wrappers, 32.5 x 24 cm. A photo magazine illustrated in color and b+w, captioned extensively in Japanese throughout, with more substantial articles, as well. Interesting magazine for the home front on Japanese progress in the Asian war and on the war in Europe (The German invasion and defeat of France lasted 6 weeks in May and June of 1940) A bit worn externally, the covers are detached, but present - overall good condition. Very ephemeral and hence scarce.

$110.00

 

 

 

 

85164.[JAPANESE MAGAZINE] Tôyô Bunka Kyôkai, publishe.  GAHÔ YAKUSHIN NO NIPPON THE ADVANCE IN JAPAN. Tôkyô, Shôwa 14 [July, 1939]. Volume 4, #7. Printed illustrated wrappers, 32.5 x 24 cm. A photo magazine illustrated in color and b+w, captioned extensively in Japanese throughout, with more substantial articles, as well. Important and interesting magazine for the home front on Japanese progress in the Asian war and the darkening situation in Europe (which would erupt into WWII within a month.) Combined with more gentle fare on baseball, sumo, mountaineering, etc. A bit worn externally, but overall very good condition. Very ephemeral and hence scarce.

$125.00

 

 

 

 

 

 

 

 

 

A scattering of design works close the show.

 

 

 

 

87775.[DESIGN] Ôsaka Asahi Shinbun & Tôkyô Nichi-nichi Shinbun. NIHON SANGYÔ BIJUTSU NENKAN 1932. Tôkyô & Ôsaka, Shôwa 7 [1932]. Large 8vo., white decorated cloth. A record of prizewinning industrial art and design from the year 1932. There are over 130 pages of designs for posters, newspaper ads, furnture, appliances, fabrics, etc., etc. An extensive overview of the design of the times. Over 60 pp of text, articles by such important artists and scholars as Wada Sanzô and Yanagi Sôetsu. Fine in the original slipcase.

SOLD

 

 

 

 

 

87662.[MAGAZINE - PREWAR]. Mitsukoshi Gofukuten.  MITSUKOSHI TAIMUSU. Tôkyô, Taishô 2 [1913]. 25.7 x 18.5 cm. Wrappers, decorated covers. 52pp of illustrations, 18pp+ of text. An early copy of a monthly magazine issued by Mitsukoshi department store. Mostly a product catalogue, the colorful covers are wonderful early Deco. Covers are a bit chipped, the pages loose, but complete.

$85.00

 

 

 

 

 

 

 

86919.[DESIGN] HIRABARA [Norifumi?], editor. IRO TO KATACHI 23 (of 25) volumes. Tôkyô: Iro to Katachi-sha, Showa 12 - Showa 14 [1937-39]. Volume nos. 2-18, 20-25. Small pamphlet-sized wrappered periodicals, 19 x 13 cm., ranging in size from some 22 pages to 48 pages apiece. As the title "COLOR AND SHAPE" indicates this monthly publication attempted to enhance the scientific background of design in Japan with scholarly articles aimed at professional designers. The pamphlets are in very good condition, enclosed in the original publisher's slipcase - which must have appeared when the set was complete - that lacks the spine panel. Very unusual.

$625.00

 

 

 

 

 

 

 

86918.[ADVERTISING] SUZUKI Nagai, editor.  Shirôto ni mo Kantan ni mo dekiru KAKUSHU KANBAN SÔSHOKU NO TSUKURIKATA PRACTICAL METHODS OF BUILDING UP VARIOUS SIGNS AND DISPLAYS. Tôkyô: Seibundô Shinkôsha, Shôwa 13 [1938]. Oblong printed wrappers. 18.8 x 26 pp. 32pp+. Sign design for the amateur. Good condition.

$125.00

 

 

 

 

87769.[DESIGN] NAITÔ Ryôji. SÔSHOKU KATTO GASHÛ. Tôkyô, Sosaku Zuan Kankôkai, Shôwa 8 [1933]. Western bound in incised leatheroid over boards. 26.8 x 19.5 cm. 78 b+w images, mostly full page of "Decorative Cuts" drawing on the female form - flappers, vamps and decadent androgynous beauties in many roles, pirates, a cowgirl, a nun, etc., etc. Ero-guro meets Beardsley. Very good condition in the original publisher's slipcase. Very unusual, showing a different side of the decorative impulse in the Japanese 1930s.

$285.00

 

 

 

 

 

 

86657.[DESIGN] NAITÔ & ÔNUMA. GENDAI KATTO ZUAN-SHÛ. Tôkyô, Sôsaku Zuan Kankôkai, Shôwa 2 [1927] 26 x 18.7 cm, 158pp., bound in printed paper over board covers. The spine has been covered in masking tape and hand-calligraphed. The rest of the book inside and out is very good. In the original publisher's printed slipcase. Captures the Deco "modern" design of the times.

SOLD