It is simple-minded perhaps to propose the example of Japanese tourists from the recent past as a proof of the cultural importance of travel in traditional Japan... Eyewitnesses to a world "beyond history" in the 90s, tourists from Japan cruised everywhere, armed with wonderful cameras and a desire to duplicate every "wish you were here" postcard ever created.... but with a personal touch of some loved one giving the peace sign in front of Versailles or the Kremlin or Victoria Falls.…

One may laugh at such a comparison, but the desire to record the beauties of nature, to participate in sampling local cuisine, local customs, local handcrafts of great skill has not disappeared. Spend some time with everyday TV in Japan and you will see much that resonates with that desire to explore…. From home, virtually, as well as in reality. And the brush.... through scrolls and paintings, could be seen as the virtual tool/media of the day as the computer/TV is today.

Traditional societies are often judged as to their "development" by the ease of travel within the cultural domain. The earliest and most reliable communication within the islands of Japan was by ship, as you would imagine. But the centrifugal effects of poor land communication and transportation in the mountainous land had, at least to a significant extent, been overcome by the late 16th,  early 17th century period of political unification. The Tokugawa clan enacted a hostage system for less trusted grandees from the countryside that required them to spend a lot of time and money traveling from their far-flung domains back to Edo on a regular basis, the so-called Sankin Kotai...(Read more...)

 

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90668. [Meishoki].Akisato Ritō 秋里籬嶋, author. Yamaguchi Soken 山口素絢, Matsumura Goshun 松村 呉春, Sakuma Sōen 佐久間草偃 et al. TÔKAIDÔ MEISHÔ ZUE 東海道名所図会 Kansei 9 [1797] Osaka, Kyoto & Edo 6 volumes 25.9 x 18.3 cm string-bound, Japanese style, fukuro-toji, with printed paper title labels. Black and white original woodblock prints by various Kyoto artists including Yamaguchi Soken 山口素絢 (1759 - 1818), Matsumura Goshun 松村 呉春 (1752-1811), Sakuma Sōen 佐久間草偃 (?-1814), et al. Preliminary pages, index and pages of text in Japanese throughout. Vol 1 has 5 cho of preliminary text and 70 cho of woodcuts, text and an index. Vol 2 has 82 cho of woodcuts with index and text, Vol 3 has 81 cho with index and text, Vol 4 has 70 cho with index and text, Vol 5 has 67 cho with index and text and Vol 6 has 78 cho with index, text, afterword and colophon.

Scenes from the history of the fabled Tōkaidō 東海道, the Eastern Sea Route that was a post road from Edo (now Tokyo) to Kyoto. The woodcuts depict everyday interactions among travelers and locals and landscapes of land and water from the 300 plus miles that included multiple shukuba 宿場 (post stations) along the route.

Good impressions and overall condition. The labels of volumes one and three are partly worn away, the wrappers of volume one are quite worn. String of binding of Vol 4 and 5 is intact on upper sections. Complete. Please see Mitchell 528-9.

$2,500.00

 

 

 

 

 

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90760. AKISATO Rito 秋里籬嶋, author. KAWACHI MEISHO ZUE 河内名所図会. Kyôto & Osaka 1801, Morimoto Tasuke, et al.6 volumes, in two series of three each. The first three are 25.6 x 18.0 cm; the second three a bit larger: 26.2 x 18.6 cm..... Enclosed in two separate clasped chitsu cases.....Lionel bought this made-up set 35 years go. At some point, it might be well to have a full 6 volume chitsu made for this complete set. The covers of the first series are worn, with nibbles, the second series covers are in very good condition. Overall, a good copy internally which compares very well (on physical inspection) to the copy in the British Library. Kawachi is an area now absorbed into the city of Osaka. These "meishoki" guides were all the rage in middle and late Edo... The author, AKISATO Rito 秋里籬嶋 [c.1776-1830] wrote the text and was assisted by the artist Niwa Tokei 丹羽桃渓 [1760-1822] among other artists to create a series of landscape, urban, and genre scenes that captured the wonderful environment of Kawachi.... known as an area with unique festivals, etc. Other artists also contributed illustrations to this work. See Brown, Mitchell, Kerlen, Edgren, etc. for more on this lovely and important set. There appear to be 172 double-page and two single-page sumi-e woodblock prints - good printing overall..... In light of the fact it is a married set of the two series, it is priced accordingly.....

$2,850.00

 

 

  

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83271.[ALBUM, PAINTING] NAKAJIMA Yûshô 中島有章. SHÔKEI GAFU 勝景画譜 Orihon folding painting album in gafu style, full of lovely views of Japan. 28.2 x 16.8 CM. Preliminary and final decorated pages, plus a 2 page table of contents and 42 double page color paintings ( each 28.2 X 33.4 CM) (~11"" X 13""). In a late Shijô Kyoto-school style by Nakajima Yûshô (1837-1905), the son of Nakajima Raishô 中島来章 (1796-1871)  and a talented artist in his own right, who has been collected by the British Museum, among other places..

The 42 paintings illustrate the beauties of Japan, mostly of western Japan with an emphasis on the beauty spots around the old capital at Kyoto. Yûshô has a wonderful way with his brush - pointillist dot leaf trees, the delicate colors..... you can see the quiet of the temple, hear the urgent plash of waters at the waterfall.... lake scenes, ocean scenes, mountains.... Mostly empty of human figures. A natural and largely silent world. An examination reveals views entitled: Fresh Breeze at Kurise, Evenglow at Seta, Geese landing at Katata..... some being scenes from canonical series. (The geese landing at Katata is traditionally one of the EIGHT VIEWS OF OMI)...

Wonderful evocations of the past in traditional style, with the lovely brush control of the Maruyama/Shijou School. Yûshô gives a world that must have been vanishing right before his eyes..... But a world he could still see the essentials of..... and give to us.

In brocade covers with a brushed title label and enclosed in a clasped chitsu case. Lovely throughout, delicate colors, skilled brushwork. Overall, a very nice presentation of the work of a skilled Shijo artist. $2,750.00

$2,750.00

  

 

 

 

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87675.[EHON] Kawamura MINSETSU, artist. TANYÛ HYAKU FUJI. Tôkyô, Shôeidô [N.D., late Meiji?] 18.0 x 25.2 cm. String-bound, Japanese-style, fukuro-toji. The original edition of 1771 is here reprinted [from the original blocks?] in four volumes with cream blindstamped covers and original printed title labels. A bit of soiling to the covers. Clean inside, fair to good late impressions. A lovely sketchbook on the theme of Fuji, and an inspiration for Hokusai's great FUGAKU HYAKKEI, [Kerlen 591; Ryerson 399]

$750.00

 

 

 

 

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87316. [EHON] Tani BUNCHÔ 谷文晁 (1763-1840) , artist. NIHON MEISAN ZUE (日本) 名山図会 3 vols. Kyôto, Ôsaka, Edo, [1812]. String-bound, fukuro-toji, original printed paper title labels, b+w woodblock depictions of the "Famous Mountains of Japan." A work justly famed for its accurate representation of the mountains in question. According to Mitchell, this is the third printing, done in Bunka 9 [1812], some eight years after the original edition, but still retaining the freshness and vigor of line for which the book is known. Volumes 1 and 2 are clean. The final volume has spotted covers and a faint tide line at the bottom edge, below the illustrations throughout most of the volume, that rises near the end, and some slight marginal worming. This copy is printed with great skill and subtlety, in a very good impression. Very good overall.

$2,400.00

 

 

 

 

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90802.[EHON] Tani BUNCHÔ, artist. 谷文晁 NIHON MEISAN ZUE 3 vols. 日本名山図会 [Famous Mountains in Japan] Tôkyô, Tôyôdô, Meiji 36 [1903]. 25.7 x 18.7 cm. String-bound, fukuro-toji, original printed paper title labels, b+w woodblock depictions of the ""Famous Mountains of Japan."" A work justly praised for its accurate representation of the mountains in question. And, of course, Tani Bunchô was one of the great artists and illustrators of mid to late Edo Japan. According to Mitchell at p.435, an early version of this book, the first volume only, was issued perhaps with the title MEISAN ZUFU, it seems around 1804. Then the second issue appeared in 1807 and the third in 1812. under the current title. We have handled the 1807 and 1812 issues, which this edition from the Meiji period. printed by Tôyôdô (printed from the same blocks?) follows. In the slightly worn original covers, with the printed paper title labels and the original fukuro wraparound paper cover fukuro. Very good overall, and with the fukuro, a very unusual example of the care taken with Meiji period woodblock printed versions of classic ehon. Historically valuable and aesthetically a wonderful example of the landscape genre in sumi printing.

$975.00

 

 

 

 

 

 

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90753. [EHON] TEISAI [Katsushika Hokuba].葛飾北馬  KYÔKA SUMIDAGAWA MEISHÔ ZUKAI 狂歌隅田川名所図会 Tôgan no Bu. 東岸の部 Bunsei 6 [1823]. Shunsui-en Zôhan. This is the "east bank" volume. The colophon lists the "west bank" volume as being issued soon, but there is no record of it surviving. A lovely rendition of the banks of the Sumida trope, here illustrated by Hokusai's talented student, Hokuba. A very nice impression in sumi-e with 6 double-page images. Complete as issued in the original hand-painted covers with the printed paper title label. Very unusual - only 6 copies are located in the KSSM [vol.2, p 493-3]. The only copy currently listed online is the copy in the Ebi Collection, catalogued by Ritsumeikan. https://ehon.dh-jac.net/books/ebi/Ebi0575 Hokuba was, with Hokkei, one of the most talented of Hokusai lineage. Very good condition overall.

$3,600.00

 

 

 

 

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90189. [FUJI] TANAKA Shigetarô 田中茂太郎 SHINSHA FUJI HYAKUZU 真写富士百図  Tôhoku no bu. 東北の部 Tôkyô, Kyoto and Ôsaka. Meiji 31 [1898] Though this group of 24 single page and 8 double page grey scale woodblock images (with occasional light coloring) is subtitled "northest section", there were no later parts. Thus complete. Bound orihon style, 22.6 x 25.6 cm. In the original covers, with printed title label, remarkably clean and fresh throughout. Some interesting firms of the Meiji book world were involved in this work’s production and distribution: Tanaka Jihei, Ôkura Shoten, Unsôdô, Susandô, Tôyôdô, etc. However, we can assume the book did not sell very well - it is nowhere to be found, nor was there a "southwest" section produced.... Interesting example of the Fuji cult (or "meme" - apologies to Jack Hillier) in late Meiji. All in a clasped chitsu case. Near fine.     

$1,875.00

 

 

 

 

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90467.HUANG JUNBI 黃君璧. [EMAKI LANDSCAPE SCROLL]. [1986] Emaki handscroll with color landscape done in Chinese brush painting style, 2.4 m, with 1.3 m of blank scroll preceding and 76.2cm following the artwork. Hand calligraphed Chinese text with 2 hanko at the end of the artwork. Signed by the artist, with his hanko and with a zodiacal date the equivalent of 1926 and 1986, but which was most certainly 1986.

Huang Junbi (also written as Huang Chun-pi, 1898-1991) was one of three masters of Chinese ink paintings who moved to Taiwan after the People's Republic of China was established in 1949. Huang was a prolific and long-lived artist who was trained in the classical Chinese style, as well as in Japanese and western art styles. His works are held in art museums in the US, China and Japan as well as other countries. Fine condition.

$2,850.00

 

 

   

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89772.[ISHIZURI]. KANCHU HAKKEI [EIGHT VIEWS OF GUANZHONG]. 關中八景 20th Century stone printed style album of eight views and poems of sights near the ancient capital of Chang'an, celebrated through history for their beauty. This "stone printing" is based on a stele, commissioned in the 19th year of the K'ang Hsi Emperor [1680], inscribing in stone those famous scenes in painting and calligraphy of famous artists of the period. The stele still exists and may be seen online. In a beautiful brocade cover. with a printed title label laid down on the cover. Very clean, near fine condition.

$650.00

 

 

 

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90672. Kawamura Minsetsu 河邨珉雪, artist. HYAKU FUJI 百富士 AND HYAKU FUJI YOKYÔ 百富士余興 [One Hundred (Views of) Fuji]. Meiwa 8 [1771]. 5 volumes 18 x 26 cm string-bound Japanese style, fukuro-toji and housed in a clasped chitsu. The original edition in five volumes, rather than the usual four, with the fifth volume being a printed record of a "kasen" or poetry competition upon the theme of Fuji. The first volume has its original, centered title slip with blue-gray covers. The other four (including the Kasen volume) are in beige covers with silver/mica decorative lines and centered, brushed title slips. Vol 1 has 22 cho of original, black and white woodblock prints with 7 cho of preliminary Japanese text. Vol 2 has 26 cho of woodcuts, Vol 3 has 25 cho of woodcuts, Vol 4 has 29 cho with the final 2 cho in Japanese text and Vol 5 has 19 cho of Haikai 俳諧 in Japanese text.

As is usual in these cases, Minsetsu himself participated as a poet. An extraordinary and rare copy of this work, perhaps the only copy with the kasen in private hands. We can only locate one copy of the Kasen volume in Japan and none abroad. Not only does this work stand on its own as a lovely sketchbook on the theme of Fuji and as an inspiration for Hokusai's great Fugaku Hyakkei, it is also a remarkable record of the poetry sessions that often constituted a dialogue for the painter/poets of Japan - in this case a previously unsuspected conversation. [Kerlen 591; Ryerson 399]

Wear to chitsu. Wear to wrappers with some rips, damage and soiling. Slight toning. Artwork is very clean with very nice impressions.

$16,000.00

 

   

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87929.KAWAMURA UKOKU, 川村 雨谷.  NAGASAKI KIKÔ SHASEICHO  長崎紀行写生帖 42 double page [image size 25.3 x 29.2 cm] paintings in sumi with slight color, painted by Ukoku in 1866. There are also 8 double page paintings in a different hand and one double page of calligraphy dated to Taishô 11 [1922].
Ukoku [1838-1906] was born a member of the samurai class and became an important member of the Meiji government. He was known as a teacher of nanga-style art later in life, but this scroll depicts scenes from a journey he took on behalf of the Bakufu in the closing days of the old Tokugawa regime in the late 1860's. His "sketchbook" of the journey is dated the third month of 1866. We know from his biography that he was sent on a mission to Nagasaki at that time. Besides having many students, fulfilling the Nanga amateur painter ideal, he also eventually served as a justice in the Japanese Supreme Court. His life is a superb example of the interaction of tradition and modernity, vocation and skilled avocation of a truly cultured Japanese gentleman. An art student of his long after Ukoku's death has here bound up the original drawings by Ukoku done some 50 years before together with a series of the student's own watercolor sketches of a local festival and enclosed the whole between wooden covers and in a lovely wooden box. Includes the student's notes, etc. about Ukoku. An interesting and skillful assemblage. 

$3,500.00

 

 

 

 

   

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90596. Shōju 松寿 [Shōrakusai 松楽齊]  TÔKAIDÔ FUKEI NO ZU 東海道風景の図 [THE ALBUM OF TÔKAIDÔ PAINTINGS]. Late 18th - Early 19th C. n.p.34 x 37cm orihon folding album with brushed title slip housed in an old chitsu with clasps 34 x 38.5cm with brushed title slip.

There are 69 full page scenes from the Tokaido, each 34 x 37cm. Painted here by Shōju [Roberts p, 152, under "Shorakusai." An Osaka painter from the late 18th, early 19th century].

Very skillful work in a large double-sided album. Since it inscribes many more stations than the codified 53 stations (55 with the origin and terminus), it provides an even fuller view of the Tokaido in the mid to late Edo. Elegiac and lovely scenes. Shoju was known as a Kansai ukiyo-e school artist.

#0 Nihonbashi - starting spot in this and the 53 Stations

Station #1 ShinagawaStation #2 KawasakiStation #3 Kanagawa; Station #4 Hodogawa
Between Stations #4 and #5 Sugita (Known for plum blossoms)
Station #5 Totsuka
Between Stations #5 and #6 there are two views: Yuigahama & Enoshima
(Both noted beauty spots a short distance from the Tokaido route.)
Station #6 Fujisawa
Between #6 and #7 There is a waterfall Ooyama Rouben no Taki, where people still go to purify themselves in the falls in a Shintou ritual.
Station #7 Hiratsuka; Station #8 Ooiso; Station #9 Odawara; Station #10 Hakone (Hotsprings) 
Between #10 and #11 there is the Heights of Hakone…. Hakone Touge

Station #11 Mishima; Station #12 Numazu; Station #13Hara; Station #14 Yoshiwara; Station #15 Kanbara; Station #16 Yui; Station #17 Okitsu; Station #18 Ejiri; Station #19 Fuchuu; Station #20 Mariko; Station #21 Okabe; Station #22 Fujieda; Station #23 Shimada; Station #24 Kanaya; Station #25 Nissaka; Station #26 Kakegawa
There are two scenes between stations 26 and 27…. They appear to be of the road to Kakegawa Castle and a view of the mountains there. But, there is no image of the castle, itself….
Station #27 Fukuroi; Station #28 Mitsuke; Station #29 Hamamatsu; Station #30 Maisaka; Station #31 Arai; Station #32 Shirasuka; Station #33 Futagawa; Station #34Yoshida
Between station 34 and 35, there is a scene of the descent from Horaiji Temple.

Then the next painting takes in both station #35, Goyuu and Station #36, Akasaka…. In a long view of the road.

Station #37 Fujikawa; Station #38 Okazaki; Station #39 
Chiryu; Station #40 Narumi; Station #41 Miya; Station #42
Kuwana; Station #43 Yokkaichi;

Between stations 43 and 44 – there is a lengthy sidetrip from the highway, down to the area of the most important Shintou shrine complex in Japan, Ise Jingu….

There are scenes from 6 locations in the Ise Shrine area….

Miyagawa Watashi - ferry across the Miyagawa river near Ise. Then, Ama no IwatoAinoyamaUjibashiAsamayama and Futami no Ura (Meoto no Iwa)

Most of these sites remain beauty and pilgrimage destinations today.Back to the road. It should be noted that the artist does not take us back to the highway by another route, it looks like he went back to the highway near Yokkaichi on the road already illustrated. In any event, it is some 90 kilometers from Meoto no Iwa up to the Toukaidou.

Station #44 Ishiyakushi; Station #45 Shouno; Station #46 
Kanayama; Station #47 Seki; Station #48 Sakanoshita; Station #49 Tsuchiyama; Station #50 Minakuchi; Station #51 Ishibe; Station #52 Kusatsu; Station #53 Ootsu.

Destination – Miyako… Sanjou Bridge.

So, besides the 55 stations (counting Nihonbashi and Sanjou) there are 13 other views of beautiful and famous scenes near the Toukaidou, suitable for a side trip.

Obviously not a guide for the business traveller needing the fastest way, as some of the earlier Tokaido scrolls, printed and painted, may have been. No practical tips, rates for portage, etc., (including Moronobu’s wonderful illustrated printed map series on the route from the late 17th century Toukaidou Bunken Ezu – we have handled emaki handscrolls that basically copied that work). This scroll is different.

It appears possible that this may have been a commissioned work by someone wishing to memorialize a journey. It is a professional job, very fluid and confident brushwork throughout. A wonderful example of the genre.

The paintings themselves are quite well-preserved, the album itself and the chitsu strong and durable.

Complete from Nihonbashi in Edo to Sanjo Ohashi in Kyoto. With a bit of repaired worming here and there. A beautiful work. A wonderful examp[le of the Travel/Tokaido genre by a skilled artist.

  

$6,500.00

 

 

   

 

   

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90462.Baikei Ri 梅渓李, calligrapher and Unkoku Tōyo 雲谷等與, painter. SEIKO HAKKEI 西湖八景. Early 17th c. An emaki scroll 5.6m including a gold paper border 26.5cm in original wooden box 33 x 7cm with hand-brushed Chinese text. Photocopy of biographical information on Ri Baikei 梅渓李 and Unkoku Tōyo 雲谷等與 in handwritten Japanese text laid in. Early 17th C.

Eight hand calligraphed classical poems with eight lovely black and white landscape paintings depicting the Eight Scenes of ​West Lake. Reverse of scroll has title of each poem and painting thoughtfully placed to be viewed alongside each as the scroll is unrolled. West Lake (西湖 Xī Hú in Chinese), located in Zhejiang province in eastern China near the city of Hangzhou, was well known, as it still is today, for its natural scenery.

Ri Baikei 梅渓李 (1617-1682) was Japanese born of Korean descent. A calligrapher and scholar of Chinese studies, he was awarded a small honorarium as a Han Confucian scholar in the Kii Domain, south of Nara, where he was born.

Unkoku Tōyo 雲谷等與 (1612-1668) was the artistic and actual grandson of master painter Unkoku Tōgan 雲谷等顔 (1547–1618) and the eldest son of painter Unkoku Tōeki 雲谷等益 (1591-1644) and is considered the last significant representative of the style.

The Unkoku school, founded by Tōgan, were considered the artistic heirs of the great Sesshū. The 1st three generations, Tōyo is the third, are considered true masters of great individual creativity. Though the Unkoku line extended long past Tōyo, he is considered the last worthy representative of the style.

$7,500.00

 

 

 

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86389.Utagawa KUNIMORI 歌川 国盛 II, artist. TÔKAIDÔ GOJÛSAN TSUGI 東海道五十三次. 54 images - originally published as 9 images each on 6 sheets - 54 images in all... So complete. Printed c.1844 Begins with Nihonbashi and ends with "Miyako". The images are in color woodblock, each print approximately 8.1 X 11.7 cm, mounted in a (probably Japanese) brocade covered orihon folding album. Kunimori was active at the end of the Old Regime.. An interesting little artifact, another rendition of the famous Tôkaidô, here rendered in a pocket-sized format. All enclosed in a nice navy blue clasped chitsu case with an appropriate woodblock printed paper lining of folks on the road. Terrific presentation of these somewhat worn original prints from the 1840's. From the collection of the eminent collector Charles Nelson Spinks, many of whose ehon and albums are in the collection of the American University.

$350.00

   

 

 

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90737. [EHON] Ihara SAIKAKU 井原 西鶴 (1642-1693), author. HONCHÔ ÔIN HIJI. 本朝櫻陰比事I. 5 volumes, with (original?) blue covers. 25.5 x 18.2 cm. One of the five volumes has the original printed title slip, the rest are brushed. This ukiyo-zôshi by Saikaku is based on legal cases from China, vernacular literature, etc., but all set in Kyoto. The illustrations are unsigned but in Yoshida Hambei's style. A bit atozuri, but the illustrations are still quite clear. In any case, the covers are a bit worn, but internally quite clean and fresh. Without the original colophon, but one has been brushed in, following the style of the Kashiwara colophon, indicating this is a copy of the second edition of the Kyôhô period (1720-5), though it retains the Genroku 2 [1689] date of the first edition. Saikaku ukiyô-zôshi are important monuments of early Edo literature. The illustrations have all the freshness of early ukiyo-e in the style of Yoshida Hambei. In addition, this a particularly unusual work by Saikaku, virtually unknown in the marketplace in any edition. Complete. See Gardner's JAPANESE BOOKS IN THE BRITISH MUSEUM, items 404-5.

$7,500.00

 

 

 

 

 

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90801. [Ehon] Kawamura Bunpō 河村 文鳳, Tatsukawa Seikun 竜川清勲, Rai San'yō 頼 山陽 TEITÔ GAKEI ICHIRAN. 帝都雅景一覧 Osaka & Kyoto: Morimoto Tasuke (O), Maekawa Rokuzaemon (O), Yoshida Shimbei (K) Bunka 6 -13 [1809 - 1816] 4 volumes. 25.5 x 16.5 cm. This set is similar to the Mitchell copy (p.518,519), save for the following: 1) Most of the poems in volume four and all in volume three are sealed, while the Mitchell copies were not. 2) There is no 2-page ad at the end of volume two before the Bunka 6 colophon - the colophon indicating the "future" cutting of the blocks for parts three and four. The colophon at the end of volume four is dated 1813, the 4-page ad with it indicates that the ad appeared between the second (1811) and third (1813) volume of BUMPÔ GAFU.

This is a handsome and early printing with quite a few color blocks printed in that wonderful late Bunka, early Bunsei Shijô style of light colors, and crumbly lines.

In a recent clasped chitsu case... This copy is very unusual as such an early printing, still in original covers and with at least portions of the printed title labels. BUT..... It is wormed. It is not falling apart by any means. But please inspect the worm tracks in the images and understand that is why this lovely set is priced as it is.

$975.00

 

 

  

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89121.Kitagawa Utamaro 喜多川歌麿. EHON SURUGAMAI 絵本駿河舞. Kansei 2 [1790] but published in Kansei 9 [1797]. Ōsaka. Izumiya Genshichi. 3 volumes 22.3 x 15.7cm bound in fukuro toji and sized hanshihon 半紙本. With the 1790 preface and 1797ad page found in the Diet Library copy. Equivalent printing to most other examples we have found record of. Exists in the Diet Library, the British Museum, Harvard, the Freer and the MFA in Boston. [The Dance of Daily Life in Suruga} is an important kyōkabon 狂歌本 in the midlife style of Kitagawa Utamaro 喜多川歌麿 (1753 – 1806), capturing elegiac views of the bustling metropolis of Edo and its tranquil environs including the Suruga No Kuni 駿河国 of the title.

Suruga No Kuni, or simply Suruga, was an old district in the middle of modern-day Shizuoka-ken; a prosperous area in the Edo Period due to its location along the Tōkaidō. The work has been pointed to and a facsimile published, because of its accurate representation of a time and place.

The publication is unusual in that Utamaro usually lived and was published in Edo, yet these volumes were published from Ōsaka. This is from the period of Utamaro's middle years when he was in a bit of trouble with the Bakufu during the strict censorship years of Kansei.

A good printing in black and white with a delicate line. With somewhat worn original patterned covers and printed paper title slips, very clean, in a modern clasped chitsu case.

$7,200.00

  

 

 

 

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36266.[EHON] Morikawa SÔBUN  森川曽文, artist. MIYAKO MEISHO NIJÛGO-KEI 都名所二十五景 Kyoto: Tanaka Jihei, Meiji 28 [1895]. Orihon in stiff covers with a printed title label, 24.1 x 15.7 cm. 25 double page color woodblock images of scenes in and around Kyoto. Besides the 25 images, there is a two page preface, two pages of a table of contents, and a two page afterword by Tomioka Tessai. The delicate pastoral scenes are in Sôbun's unmistakable late Shijô/early Nihonga Kyoto style, and the printing is up to Tanaka Jihei's usual high standard.
This book appears in none of the standard references. Sôbun was an important artist of the period who contributed to several anthologies of the time, but no separate work by him appears in Ryerson or Mitchell.
The covers are quite worn and faded. There is very slight browning and soiling internally, but the condition is good to very good overall, and the impressions are very good. An unusual item. Complete.

$625.00

 

 

 

 

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89908.[EHON] Shijô School Anthology. Nukina Kaioku 1778-1863貫名 海屋; Kawabata Gyokusho 川端玉章 1842-1913;Shiokawa Bunrin 塩川文麟 (1808-77)TAMA HIROI. 玉ひろい Kyoto: Omiya Matashichi. 2 vols., String-bound Japanese style [fukurô toji], 25.7 x 16.8 cm. Identical to Mitchell's "Example A", the Omiya issue in two volumes, complete, save that the "5th preface" is not included present. All the prints, poems, finals, etc. are the same as the Mitchell copy. This variant issue is an excellent printing in good colors.
TAMA HIROI is an important anthology, providing exclamatory punctuation to the development of Edo Shijô book illustration. The quality of the technique would not be approached again until the heyday of Meiji color printing thirty years later when the aesthetic had been irrevocably transformed. Therefore, in our opinion, TAMA HIROI is a cornerstone piece in any Edo ehon collection. [Re: Mitchell p. 512,3; Brown 127; Ravicz 45; Hillier Vol.2]
Our copy has the original covers and title labels. It is a clean and well-printed copy of this important work. It also includes a publisher's wraparound case with a printed paper title label, that reads MIYAKO MEISHO KUNGYOKU SHÛ, one of its alternative titles. In a custom clasped chitsu case. Complete.

$3,500.00

 

 

 

 

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90764.Go-Kashiwabara Tennô. [Emperor Go-Kashiwabara] 後柏原天皇 et al. Kaihô Yûchiku 海北友竹, artist; Kitamuki Unchiku 北向雲竹 (1623-1703), calligrapher SHINNYÔDÔ ENGI 真如堂縁起 3 volumes, complete. 27.5 x 19.5 cm. String-bound, Japanese-style, furo-toji. In the midst of the bloody Ônin Wars that wracked Kyôto and environs for nearly a century, an iconic emaki scroll inscribing the foundation of the Buddhist hall Shinnyodo, was created in 1524.... . The calligraphers included the Emperor Go-Kashiwabara (who died two years later)... The scroll painter was Kamonnosuke [Fujiwara] Hisakuni 掃部助久国... This printed version, based on the scroll, was printed in the second half of the 17th century when Japan had well entered its era of peace and prosperity. One could see this printed work as a reflection upon the great chaos of former times. The calligrapher for this printed version was Kitamuki Unchiku and the artist for this book was Kaihô Yûchiku. Profusely illustrated with wonderful images in an early Edo era style. The only copies I can locate to view online in Japan, at Waseda (1 volume only) and the NDL (missing preliminary text) are inferior in condition and printing quality. Our copy appears to match the Waseda version with an afterward date of Genroku 6 {1693}... The earliest printing for this book appears to have been in Enpô 5 (1677) For more on this work, see KSSM 4-755, and Gardner's book on JAPANESE BOOKS IN THE BRITISH LIBRARY....

Complete and professionally restored, in lovely condition and impression. In a custom chitsu clasped case., A very important record of a tragic time, originally created by witnesses to the events.

$4,750.00

 

 

 

 

 

 

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90690. [EHON] Hirokawa Kai 廣川獬. NAGASAKI BUNKEN ROKU 長崎文献錄. Kyōto, Hishiya Magobei, Bunsei Gannen [1817]. 5 vols. in 3, string bound Japanese-style fukuro toji, 25.7 x 17.7 cm, original paper title labels, grey covers. The second printing after the first appearance in 1800.

This "RECORD OF THINGS HEARD AND SEEN IN NAGASAKI" details a trip to Nagasaki undertaken by Kai, a scholar of Dutch medicine. This book has been described by Boxer as "one of the principal sources of information about Deshima and its occupants at the end of the eighteenth and beginning of the nineteenth century". Not only about the Dutch, but also the Chinese, strange tales and monsters from abroad, etc.,etc. See Hillier pp. 511,2 & Boxer JAN COMPAGNIE IN JAPAN, p.132. In overall good condition, the b+w woodcuts are in good impression. Complete.

$3,500.00

 

 

 

 

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90776.[MEISHO-KI] Akisato Ritō & Takehara Shunchōsai. MIYAKO MEISHO ZU-E 都名所圖會 (都名所図会) 6 volumes. 27.2 x 18.7 cm. Kyôto, Yoshinoya Ihachi. String-bound, Japanese-style, fukuro-toji. The colophon lists the original edition as being from 1780 [An'ei 9] and the copy at hand a ""recut, reprinted"" expanded edition published in 1786 [Temmei 6]. It is complete as such, in the original covers with printed paper title labels. There is final 2 page advertisement for the publisher's other ""meishoki"" geographical gazetteers. Very useful, and a very interesting guide to the Kyôto area in the late 18th century. The covers are a bit worn and soiled, the printing is good overall, the interior clean. A very acceptable example of the genre.

$1,850.00

 

 

 

 

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90292.[MEISHOKI]. NIKKÔ SANSHI 日光山志, 5 vols. Edo, Tempô 8 [1837]. 25.7 x 18.3 cm., With original covers, though they are not the light blue covers called for at Mitchell 436, but rather grey covers with a blind-printed pattern of floral roundels. A fresh and clean copy in good impression (perhaps a bit later than the earliest examples we have seen). Heavily illustrated throughout in both b+w and color woodblock. Historical, anecdotal and naturalistic, it is a guidebook, gazetteer and nature study all in one. The prints run the gamut in style from Tosa school influenced meishoki, through Shijo and Kano.... a variety of artists provide a variety of images. Interesting and important work which is a highpoint of the genre.

$2,400.00

 

 

   

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90714.Tsuji Hōzan 辻鳳山, artist. BITCHÛ MEISHÔ-KÔ 備中名勝考, 2 VOLS [Report on Famous Places in Bitchū]. n.p. Gyokushō-en 玉松園. Bunsei 5 [1822]. 2 volumes 26.4 x 18.5 cm string-bound Japanese style, fukuro-toji with light blue-gray blindstamped wrappers and housed in a modern chitsu-clasped case. 18 very appealing, double page illustrations, lightly colored, of famous locations in Bitchū with Japanese text throughout. Natural landscapes, many with figures or birds, reveal the charm of this former province located west of present-day Okayama Prefecture.

A very interesting and lovely work, at one time attributed to Suiseki, as the images are reminiscent of his work (and hence very good indeed), It has been established that Hōzan was not Suiseki, however, as his identity can be traced independently through contemporary sources. Complete. Identical to the copy catalogued in Mitchell p. 224. Rubbing of chitsu title slip and worming of vol 2 wrapper. Wear and spots of soiling to wrappers, title slip and some internal worming, otherwise in very good condition, colors and impressions. A very scarce work.

$3,250.00

 

 

 

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82065. [WOODBLOCK ALBUM]. ÔSAKA-JÔ HAKKEI 大阪城八景 [EIGHT VIEWS OF OSAKA CASTLE]. Oblong folio [25 x 35 cm], orihon in stiff silk-covered boards with a printed paper title label. Interspersed with text is a group of interesting color woodcuts depicting traditional views of Osaka Castle during the early 17th century from various precincts of the city.One may only say that Osaka has changed in the interim. A prewar production, it would seem.

$650.00

 

Pt. 3 

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90734. [EHON] Rai Sanyō, et al. 頼山陽 Shunsōdō 春草堂. JÛJUN KAGETSU-CHÔ. 十旬花月帖 3 Vols., orihon, bound in brocade covered boards with printed silk title labels. The tall slender volumes, 29 x 10.2 cm, are reminiscent of sutras in their format. Enclosed in the original chitsu (clasps missing) with printed paper title label. The colophon is integrated with the closing directory of participants, dated Meiji 16 [1883]. The zodiacal date of 1827 is contained in many of the contributions to the work. Why almost sixty years went by until this work was published in woodcut is problematic, but the centrality of the great scholar, Rai Sanyō, and his followers to the work is undeniable. There are a total of twelve color woodcut printed illustrations, 11 are double-page and one is a four-page foldout landscape. The subjects are the flowers, landscapes, etc. of Nanga art, but the execution is superlative in printing, coloring, and composition.

I should mention that we once handled the original manuscripts for this work. This is a remarkably faithful facsimile in woodcut of the Rai group's literary and artistic record of Sanyô, his mother and her brother, all noted poets, scholars, and artists in the Nanga tradition, when they took a trip of 100 days (jû-jun) - the time granted Sanyo's uncle as leave from his Daimyo to make the trip.

As remarkable as the prints are, the other aspect of the albums, the calligraphed poems, etc., are equally impressive. In my opinion, the printer's ability to capture the diverse style of each writer and the uniformly excellent quality of each contributor's work make this 100 DAYS INSCRIBING MOON AND FLOWERS one of the finest illustrated works of the Meiji period.

It would not do to ignore the historical importance of the work, either. The Nanga revival of the 1880s which iterated an earlier flowering approximately a zodiacal circle earlier is at the heart of the work, and the lavish nature of the production illustrates the intellectual, artistic, and financial resources available to the bunjin literati of mid-Meiji Japan. Each poem and woodcut is sealed, and the study of both seals and signatures throughout the book provided in its day and to us also many insights into the relations of the many intellectuals in Rai Sanyō's 1820's movement. See Mitchell 528 and articles on such of the contributors as Sanyō himself, Kagawa Kageki, Rai Kyōhei, and Kan Sazan in the Kōdansha ENCYCLOPEDIA OF JAPAN.

In very good condition and excellent color and impression. Three volumes, complete:

$1,675.00

 

 

 

 

 

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89484. [SKETCHTOUR GENRE] Nakazawa Hiromitsu (1874-1964) 中澤弘光, artist、 NIHON TAIKAN 日本体感.. [Views of Japan] Tokyo: Kanao Bun'endô 金尾文淵堂, Taishô 11 [1922]. 38 x 27 cm, oblong folio in size. 50 single sheet color woodblock prints of views, primarily in the Kyoto/Osaka area, with prefatory descriptions, in a tied portfolio with a woodblock cover.
This massive work was undertaken by Kanao Tanejirô of the important publisher Bunendô. The earlier HANSHIN MEISHO ZUE had been a departure for the book publisher Kanao into a new field - oban size print portfolios. NIHON TAIKAN was a direct challenge to the primacy of Watanabe in the field of shin hanga prints and an effort to redirect the genre away from its emphasis on bijin and the like. For this effort, he assembled some of the best printers and engravers of the day, Nishimura Kumakichi and Okada Seijirô, and combined their talents with those of the artist Nakazawa Hiromitsu. Hiromitsu's work is at its best here. Less stiff than that of Hasui or even Yoshida, it carries the recreation in woodcut of the "feel" of watercolor to new heights. (See Prof. Scott Johnson on the `Sketchtour' genre for more on Bunendô and Hiromitsu in ANDON 47.)
In any case, this most ambitious of Bun'endô's landscape productions is also the rarest. Completed the year before the great Earthquake and fire of 1923, all the unsold sets of NIHON TAIKAN and the blocks themselves were lost and Bun'endo^ moved to Kyoto in an attempt to restore the company fortunes.
This set of prints is very well-printed, though the preliminaries are a bit water-stained. There is occasional marginal staining to the prints as well, not affecting the images. The original portfolio with ties has been rather clumsily repaired, but intact. The price reflects these factors. Unusual:

$385.00

 

 

  

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89835.[SKETCH TOUR GENRE] NAKAZAWA Hiromitsu (1874-1964) 中沢弘光, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI 西国三十三所巡礼絵巻. Osaka & Tokyo, Kanao Bun'endô 金尾文淵堂, publisher. Taishô 14 [1925]. Oblong portfolio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The 33 temple pilgrimage covers sites in 7 modern prefectures, from Gifu-ken to Hyogo-ken....and is still undertaken by pilgrims today.The blocks were cut by Okada Seijirô and the printers were O^kura, Nishimura, et al. Kanao Takejirô's only portfolio project undertaken in the twenty years between the time he moved from Tokyo after the disastrous earthquake and the immediate aftermath of the Pacific War.
There are nine color woodblock printed preliminary pages, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the scenes depicted, (in Japanese).
A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre.
A set in very nice condition, with only very mild occasional foxing to the preliminaries and finals, in the original inner and outer printed covers (approx. 16" x 10.75"). The prints are well-printed (in the light crumbly style meant to capture the essence of Hiromitsu's watercolors) and in very good condition. Complete.

$4,250.00

  

 

 

 

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54415.[SKETCHTOUR BOOK]. JÛNIN SHASEI RYOKÔ十人写生旅行 TEN ARTISTS ON A SKETCH TOUR Tokyo: Kashima Chôjirô [Kôbunsha], Meiji 44 [1911]. Printed paper over boards, cloth spine, gilt. Small 8vo., 19.3 x 12.8 cm. See Johnson's article in ANDON 47 p. 15 for an extensive description of this book's importance. With 10 zincographs, 2 lithographs, 18 photo-lithographs and 4 color woodcuts, along with many halftones, both b+w and color. An important and interesting book, which centers on verbal and pictorial representations of the Inland Sea area. The artists (and authors) were Kawai Shinzô 河合新蔵, Ôshita Tôjirô 王下藤次郎, Mitsutani Kunishirô 満谷国四郎, Yoshida Hiroshi 吉田博, Nakagawa Hachirô 中川八郎, Kosugi Misei 小杉未醒, Nakamura Fusetsu 中村不折, Kanokogi Takeshirô 鹿子木孟郎, Takamura Shimpu 高村真夫 and Ishii Hakutei 石井柏亭.‘
The binding is a bit cocked. The contents very slightly foxed. But overall this is a very good copy of this hard-to-find work, here in the third impression, issued three months after the first. In the worn original decorated clamshell box.

$575.00

 

 

 

 

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82624.[SKETCHTOUR GENRE] Nakazawa Hiromitsu 中澤弘光 KINAI KEMBUTSU 機内見物. 3 volumes: YAMATO 大和, KYOTO 京都, and OSAKA 大阪. Kanao Tanejirô 金尾種次郎 「文淵堂」, publisher、Taishô 元年、1912.22.8 x 15.4. (Larger than most examples of the genre.) Bound western style in printed paper covered boards (without the printed slipcases). T.E.G. For details on the importance of this work, see Scott Johnson's article in "ANDON 37", pp.21-25. Aside from one foldout color woodcut and a few reproductions of paintings by Asai Chû, the illustrations are by Nakazawa Hiromitsu (1874-1964), probably the most important single artist of the "sketch-tour" genre. There are a grand total of 57 hand-printed woodcuts in the three volumes, as well as many collotypes and half-tones. Nakazawa, himself, as well as such literary lights as Yosano Akiko, the famous poetess, provided the text. This set consists of a first printing of the Osaka (1912) volume and second printings of the Kyoto and the Yamato volumes. The printing runs were very small and the book never sold particularly well (the third volume cost three yen, a considerable sum in 1912!). Complete sets are unusual. Our set is very lovely, save that there is a bit of fading, rubbing and skinning to the covers. Enclosed in a contemporary clasped chitsu.

$975.00

 

 

 

 

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87897.[SKETCHTOUR BOOK] Mizushima Nihô (1884-1958) 水島爾保布, artist and author. TOKAIDO GO-JUSAN TSUGI SETONAIKAI KIKO 東海道五十三次 瀬戸内海紀行. Tokyo: Kanao Bun'endô 金尾文淵堂, Taishô 9 [1920]. First Printing. 8vo. Printed paper over boards, cloth spine, gilt. With many color and b&w illustrations done in several media [for details see Professor Scott Johnson's article on Bun'endo and the Sketchtour genre in issue 47 of ANDON magazine. Very nice condition in the worn original printed slipcase. Complete as issued. 

 $650.00

 

 

 

 

 

 

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90038. [SKETCHTOUR GENRE] Kanao Bun'endô 金尾文淵, publisher. HANSHIN MEISHO-ZUE  阪神名所図会. A folding album of 30 ôban-size color woodcut prints, printed by Nishimura Kumakichi and published by Kanao Bun'endô in 1916-17. There are two prefatory pages: a map of the trip around western Japan depicted herein, and a table of contents, plus the prints. The artists who designed the prints were Akamatsu Rinsaku 赤松麟作  (1878-1953), Noda Kyuhô 野田九甫 (1879-1971), Hata Tsuneharu 幡 恒春(1883-? ), Mizushima Nihou (or Nihofu) 水島爾保布(1884-1958) and Nagai Hyosai 永井瓢齊 (1882-1945). Our copy has little to none of the foxing to which this work is often subject, with just a bit of mild toning to one or two of the prints. The finest of all of Bun'endô's remarkable portfolio productions, the HANSHIN MEISHO ZUE is very scarce, even individual prints from the series are by no means common. For more on this remarkable work, see Charles Mitchell's article in ESSAYS ON JAPANESE ART PRESENTED TO JACK HILLIER.
This set is of the orihon folding album variant, issued by Bun'endô with title page, etc., but without the fascicle covers of the subscription series. Thus, complete, as issued. The state of the printing is very good, as are the colors, with only the mildest signs of a bit of foxing, mostly marginal, to a few of the prints. In brocade covers, all in a clasped chitsu case.

$7,500.00

 

 

 

 

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75070.[SKETCHTOUR GENRE] Nakazawa Hiromitsu (1874-1964) 中澤弘光, artist、 NIHON TAIKAN 日本体感.. [Views of Japan] Tokyo: Kanao Bun'endô 金尾文淵堂, Taishô 11 [1922]. 38 x 27 cm, oblong folio in size. 50 single sheet color woodblock prints of views, primarily in the Kyoto/Osaka area, with prefatory descriptions, in a tied portfolio with a woodblock cover.
This massive work was undertaken by Kanao Tanejirô of the important publisher Bunendô. The earlier HANSHIN MEISHO ZUE had been a departure for the book publisher Kanao into a new field - oban size print portfolios. NIHON TAIKAN was a direct challenge to the primacy of Watanabe in the field of shin hanga prints and an effort to redirect the genre away from its emphasis on bijin and the like. For this effort, he assembled some of the best printers and engravers of the day, Nishimura Kumakichi and Okada Seijirô, and combined their talents with those of the artist Nakazawa Hiromitsu. Hiromitsu's work is at its best here. Less stiff than that of Hasui or even Yoshida, it carries the recreation in woodcut of the "feel" of watercolor to new heights. (See Prof. Scott Johnson on the `Sketchtour' genre for more on Bunendô and Hiromitsu in ANDON 47.)
In any case, this most ambitious of Bun'endô's landscape productions is also the rarest. Completed the year before the great Earthquake and fire of 1923, all the unsold sets of NIHON TAIKAN and the blocks themselves were lost and Bun'endô moved to Kyoto in an attempt to restore the company fortunes.
This set of prints is very well-printed, though the preliminaries are a bit water-stained. There is occasional marginal staining to the prints as well, not effecting the images. The original portfolio with ties has been rather clumsily repaired, but intact. The price reflects these factors. Unusual.

$5,750.00

 

 

 

 

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90084. Ôtani Sonyû 大谷 尊由(1886-1939) & Iguchi Kashû 井口華秋 (1880-1930), artist TOKAIDÔ GOJÛSAN-TSUGI EMAKI 東海道五十三次絵巻 Kyoto Taisho 11 [1922]. Eight handscrolls with woodcut coloring over collotype, complete.The scrolls have bone jiku with brocade covers and sumi over gold title labels. The pictures of the stations of the old Tôkaidô alternate between Sonyû and Kashû. Most station names are well known, but there are alternate local names, and in some cases other place names are itemized parenthetically. Colophon: Endnote. Date of publication Jan. 15, Taisho 11 (1922). Price: ¥500. Artists: Otani Sonyû and Iguchi Kashû. Publisher: Nakamura Taikan. Printer: Motohashi Sadajirô. Publishing House: Nihon Taikan-sha.

It goes without saying that the price of 500 yen (at the time worth about US$200 in gold), a shocking amount, was reflective of the enormous costs associated with the project. That sum came to a bit less than a male factory worker's yearly wage and quite a bit more than a female factory worker. The use of collotype as the "shita-e", then over-printing with heavy opaque mineral pigments time and again to derive the rich palette of the finished scrolls was not a method conducive to economy. A bit of a vanity production as Otani Sonyû was the younger brother of an important Buddhist prelate and it seems most of the copies ended up in the hands of Buddhist temples. Sonyû was also a Buddhist priest and was made a cabinet Minister for Japan (Colonial Affairs) in 1939 - illustrating the continuing importance of the ideal of a cultured man as polymath. The publisher went bankrupt soon after the appearance of the Tokaido set. Our copy is enclosed in its original worn black lacquer box, title in gilt. The scrolls are in fine condition, with a few creases but none of the usual foxing. There are literally hundreds of feet of remarkable images. (See Roger Keyes' extensive description of this major discovery in his catalogue of the NYPL exhibition of EHON.)

$19,500.00

 

 

   

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90014.[CREATIVE PRINT MOVEMENT] Matsuzaki U-ichi 松崎卯一. [Untitled "EIGHT VIEWS OF NAGASAKI"] Research indicates a date of 1950 and a title of SHIN NAGASAKI HAKKEI 新長崎八景  8 oblong ôban size prints, tipped onto sheets and overlaid by English and Japanese bilingual descriptions of the scenes depicted. The sheets are 30.5 x 38.2 cm. Matsuzaki [1895-1972] published these prints about 1950.. He had attended Tôkyô Bijutsu Gakkô and was an art professor in Nagasaki through and after the Pacific War. An almost unheard of group of lovely landscape prints of a city devastated by the atom bombing, which is mentioned but the effects of which are never depicted. If one didn't know by the text, one might think it a pre-War production and, indeed, perhaps it was, and unpublished, was repurposed for a much different audience. Just a guess, but may bear more research. The prints and folders are in very good condition, despite their apparent fragility.

$975.00

 

 

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89318. SEKINO Jun'ichirô  関野準一郎, artist. YUKIGUNI 雪国. Tôkyô, Privately self printed by Sekino, Sho^wa 26 [1951]. 16.0 x 11.6 cm. #3 of 100 copies. Bound western-style in printed boards and quarter leather, all in the original printed box. Bucolic little prints on the theme of "Snow Country". Signed by Sekino. Fine condition.

$750.00

 

 

 

 

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90460. Tokuriki Tomikichiro 徳力富吉郎 SHIKI TÔKYÔ FÛKEI 四季東京風景 FOUR SEASONS OF TOKYO, Kyoto. N.D. [c.40s?]

Four original multicolor woodblock prints 21 x 28cm, laid in with matted frames 25.5 x 35cm and housed in a portfolio 26 x 35.5cm. Printed title slip in Japanese and English on portfolio cover. Laid-down colophon with descriptions in English and Japanese text. Blocks are carved and printed by Uchida Woodblock Printer, Takakura. Undated, but probably early postwar, pre-1963 when a highway was built over the Nihonbashi bridge.

Each print is titled in the colophon, as follows, representing one season in a particular location in Tokyo, and has the publisher’s hanko.

Spring: “Cherry Blossoms of Temple Asakusa” 浅草の桜
Summer: “A Rainy Scene at Niju-bashi Bridge” 雨の二重橋
Fall: The Moon Viewed at Shinobazu Pond”  上野不忍池の月
Winter: “A Snowy Scene of Nihon-bashi Bridge” 日本橋の雪景

Tokuriki Tomikichiro 徳力富吉郎 (1902-2000) was born in Kyoto into a family of 12 generations of artists and his first teacher was his own grandfather Kosei Shoseki [1843-1919], an important traditional artist and influential teacher of many others, including Shimomura Kanzan. Tokuriki went on to study art formerly in Kyoto, graduating from Kyoto College of Fine Art. In 1922, while he was still a student, one of his works was selected for a national exhibition. Although he was known for his Shin Hanga prints, his true love was for Sōsaku Hanga 創作版画, the Creative Print Movement.

Wear to portfolio, very slight toning to prints, otherwise good condition

$750.00

 

 

  

Pt. 5

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89702. [SHIN HANGA] Kosugi Hôan 小杉放菴 (1881-1964) & Nakazawa Hiromitsu 中沢弘光 (1874-1964) . MANSHÛ ZU-E 満州図会. Dairen, Shôwa 9 [1934] Japan Tourist Bureau. Printed by the important woodblock artisans, Takamizawa of Ôsaka. There are 5 ôban size prints of views and genre scenes in Manchuria. Kosugi (1881-1962) was one of the most important artists of the "Nihonga" genre and Nakazawa (1874-1964) was also famous, known for his light touch with watercolor and the many print sets he designed for Kanao Bun'endô. The three prints by Kosugi and two By Nakazawa render the set complete with the 5 prints called for. Each print is mounted on the original backing sheet with typeset explanatory text. Includes the colophon, all in the original folding covers with printed title labels. The covers are a bit worn, but the prints are lovely, well-printed, in very good condition. A very unusual group of images from the days of empire.

$1,250.00

 

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90749. [EHON] TAGAWA Harumichi 田川 春道, edit. & KURATA Tôgaku 倉田 東岳, artist. GAIBAN YÔBÔ ZUGA. 外蕃容貌図画 Tôto [Edo] Ansei 2 [1855]. String-bound Japanese-style, fukuro-toji, with original covers and printed title labels, 2 vols., complete. 18.2 X 25.2 cm. One double-page woodcut color printed hemispherical map of the world, and 43 (of 44 full) page color prints of people from all over the world - portrayed in somewhat fanciful native costume, largely in pairs, male and female. Each portrait has explanatory text on the facing page. Save the lack of title labels, collates identically with the Waseda University copy. (The one missing plate is of two American sailors). The fascinating and unusual Japanese view of the human race at the time of Perry's arrival. [Kerlen 422 for 1854 edition; KSSM II 41-3] Very good impressions and colors, nicely restored. In custom clasped chitsu folding case.

$4,850.00

 

 

 

 

 

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90598. [IMPERIAL HOTEL PAMPHLET]. 18.5 x 12.2cm staple-bound pamphlet with color illustrations, monochromatic illustrations and English and Japanese text.

The clever design of this pamphlet makes it accessible to both Japanese and English speakers. Both front and rear wrappers show the same color illustration of the Imperial Hotel and gardens in Tokyo. Opened Japanese-style, the wrapper title reads [Teikoku Hoteru Tokyo] 帝国ホテル東京, while opened Western-style, the wrapper title is "Imperial Hotel Tokyo Japan." [6] pages, including inner wrappers, feature realistic drawings of rooms in the hotel interior and an exterior section, with the name of the room/place in English and Japanese, Japanese text and a lovely floral drawing in green ink.

The inner wrapper of the English cover page has the name of the hotel in Japanese as well as the phone number. Inumaru Tetsuzo犬丸徹三 (1887-1981) is listed as the hotel president. Inomaru was acquainted with numerous luminaries who stayed at the hotel, including Marilyn Monroe and Joe Dimaggio. Before gaining fame in Tokyo, the hotelier worked in the business performing menial tasks in hotels in New York, Shanghai and London. He was employed at the Imperial Hotel in 1919, gradually working his way up to president in 1945. A member of staff in 1923 during the great earthquake, he is credited with keeping the hotel, guests and workers safe. His son Ichiro also eventually became president and his grandson later filled the role of deputy general manager.

The 6 areas featured are Peacock Alley, the main banquet hall, main dining room, south court garden and piazzas, a bedroom and the front lobby. Text includes information on the restaurants, such as the Grill, Sukiyaki and Prunier [translates as Plum Tree] with hours of operation.

Given Inumaru's tenure as president, the pamphlet can be dated between 1945-1970, and was likely from the mid-1950s.

The building's exterior and interior as well as most furnishings and dishes and glassware, were designed by well-known US architect Frank Lloyd Wright. The hotel stood in central Tokyo from 1923, when it was completed, until 1968 when it was demolished to make room for an updated building.

This lovely pamphlet is a reminder of a time when the hotel was considered the finest in Japan, a symbol of cooperation between Japan and the US; a blend of traditional East Asian and Native American design and modern Western aesthetics.

Good condition.  

$175.00

 

 

  

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80883.[JAPANESE EPHEMERA] JAPANESE EPHEMERA COLLECTION - 125 PIECES, PHOTOS, CARDS, 19TH-20TH CENTURY. Mostly for Western tourists, this collection includes hotel luggage labels and tags in various shapes and sizes; matchbox labels (in English and Japanese); trade cards with ornate designs; three hand colored albumen photographs, 8 x 10.5 in.; greeting cards, including Christmas and New Year's cards; folding maps of the Tokaido Road, Java, a brochure about the Inland Sea; a brochure on Japanese prints; wine labels; Japanese paper samples with text printed in English; a small (6 1/4 in.) painted fan with wooden handle; a menu for a dinner in August of 1937 with a woodblock print cover reproduction of Hiroshige's Fireworks on the River Sumida; two silk and paper dolls, both men, padded to achieve a 3D effect; a small (10 x 6 1/2 in.) color print of a geisha passing two suitors on a grassy path, and more.

$850.00

  

 

 

 

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88614.KAWAMURA Teizan 河村貞山. BANKOKU TSÛSHIN ÔRAI 万国通信往来. Tôkyô, Ôsaka, etc., Meiji 6 [1873]. Bound Japanese-style, fukuro-toji in the original covers with the remains of the original printed title label. The first few pages are printed in color woodblock, illustrating the treaty ports of the time, including Nagasaki, Ko^be, Yokohama, etc. There are many sumi-e illustrations that follow, following the familiar format of the kashiragaki kinmo-zui style of illustrated encyclopedia that began in Japan in the 17th century. Here the format embraces all things foreign - the top of the page has the illustrations, the captions below. There are ships, products for import, the desired goods for trade, etc. - all very practical. The covers are worn, the title label abraded, but the contents are quite good. By no means a common book. Interesting as an historical document of early Meiji and an excellent example of the renaissance of woodblock printing at the time.

$850.00

 

 

 

 

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85794.[MAP - JAPAN] IMPERIAL GEOLOGICAL SURVEY OF JAPAN. TOPOGRAPHICAL MAP OF THE JAPANESE EMPIRE. Engraved by N. Matsudaira, printed by G. Yoshii at the Tôyôdô in Tokyo, 1900. This huge (5.33'x 6')(164 x 183 cm) map has a colored inset of the political divisions of the empire and another inset of Taiwan and environs, as well as a superbly detailed map of Japan itself. There is some weakening of folds, but overall in good condition, folded and enclosed in a printed cover box. A monumental work, in English throughout. By no means common.

$1,600.00

 

 

 

 

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60354.(MAP). MOTOR ROAD MAP OF KOBE, OSAKA, KYOTO AND SURROUNDING DISTRICTS. Tokyo: Japanese Government Railways, printed by the Shueisha Company Ltd., August 1931. A folding, color map, printed to one side of the sheet, with an index of place names. 38 1/2 by 25 1/2 inches (97.8 x 64.8 cm). Folded size: 8 by 4 1/8 inches (20.4 x 10.5 cm). Light toning to paper along the folds, with some wear at the juncture of a few of the folds, and a couple of short, marginal tears. Overall, this is a clean map, in very good condition.

$150.00

 

 

 

 

 

 

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60355. (MAP). MOTOR ROAD MAP OF TOKYO, YOKOHAMA AND SURROUNDING DISTRICTS. Tokyo: Japanese Government Railways, printed by the Tsukiji Type Foundry Ltd., July 1931. A folding, color map, printed to one side of the sheet, with an index of place names. 37 1/2 by 25 1/2 inches (95.3 x 64.8 cm). Folded size: 8 by 4 1/8 inches (20.4 x 10.5 cm). Light toning to paper along the folds, with small splits at the juncture of several of the folds, and a couple of marginal tears. Overall, this is a clean map, in good condition.

$125.00

 

 

 

 

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89595.Miki Tei-ichi, author; G. Takahashi, translator into English. PICTORIAL DESCRIPTIONS OF FAMOUS PLACES IN JAPAN. Vol.1. Tokyo: Kyûshundô, Meiji 21 [1888]. Tri-lingual text, Japanese, Chinese and English. String-bound Japanese-style in flexible paper covers, 18.4 x 12.4 cm. 10 double page color printed woodcuts, most of which are signed in the plate by Ogata Gekkô or Kobayashi Eitaku, the important mid-Meiji print artists. The text is printed in Western-style movable type. An interesting verbal and pictorial rendition of Westernizing Japan in the Victorian age, here delivering traditional scenes from nature and history. Very good in very good impression and colors. A relatively unusual book. Complete, in a clasped chitsu case. Though a series of ten volumes was planned, it appears only this one appeared under this title, with two more "biographical" volumes issued under separate titles. There also had been an earlier volume on views in Tôkyô, issued by the same publisher.

$975.00

 

 

 

 

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87296.[PHOTO ALBUM]. 88 HAND-COLORED 19TH-CENTURY ALBUMEN PHOTOGRAPHS OF JAPAN. The images, each of which is approximately 20.5 x 27 cm. (8 by 10.25 in.), cover the gamut of tourist scenes in and around Tokyo, Kyoto, Nara, Osaka, Kobe, Idzu, etc., but also include many unusual images that are not the standard fare. All but six of the photos have an English-language caption in the print that identifies the subject or view. Three images depict damage caused by the 1891 Mino-Owari Earthquake. One image, of the ""Kioto Rapids"", is present in duplicate. Photographers include Kinbei Kusakabe, Baron Raimund vov Stillfried, and Kihei Tamamura. The photographs are laid-down on heavy card mounts, one to a page, in a contemporary brown cloth album, [44] ff., 28.5 x 37 cm. (11.25 by 14.75 in.), with ""JAPAN"" stamped in gilt on the upper board. Some foxing to mounts and very occasionally, mildly to photos. The album has been professionally rebacked. A very good selection of photos in very good condition, attractively displayed.

$4,250.00

 

 

   

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89206.[PHOTOGRAPHS]. 141 HAND-COLORED & BLACK AND WHITE PHOTOGRAPHS OF 19TH CENTURY JAPAN AND ASIA. Archive consists of six groups of photographs. Most are mounted and are disbound from albums, four have ink and watercolor illustrations on the mounts, and 19 are loose b/w prints, probably early 20th century. A few mounts or photos have manuscript notes with dates (1896, late 1870's). Photographers not identified. Some negatives are captioned, and some of the mounts have manuscript captions. Image sizes range from 5.5 x 4 inches (three photos) to 8.5 x 11.5 inches. Mounts range in size, most are about 11 x 14 inches.

Very good condition.

$4,500.00

 

 

 

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85172. [PHOTOGRAPHY - JAPAN] ALBUM OF 85 SNAPSHOTS OF JAPAN 1916 - 1923, FUJIYAMA AND MORE, PLUS SIX LOOSE PHOTOGRAPHS AND A PHOTO POSTCARD. 5 1/2 x 8 inch flexible black cloth covers, cord-bound, with "Photographs" in gilt on front cover. Black paper mounts, neatly captioned in white ink, mostly in English with some Japanese. Images are b/w, sepia or color (only two are in color) and range in size from 2 1/4 x 3 inches to 4 x 6 inches. The majority (63) are the smaller size. The album is in good condition as are the page mounts, and the photographs are in very good condition. The loose photographs range in size from 2 1/4 x 3 inches to 4 x 6 inches and are sepia or b/w. They are captioned in ink on the reverse. Most of the album photos depict expeditions to climb Fujiyama and various of the Japan Alps, with scenes along the way of people and places - ecstatic pilgrims, the Imperial bodyguard, women's groups, schoolchildren and the photographer and his many climbing companions, foreign and Japanese. The owner is not identified, although some of his companions are: Arnold Bauer, Charles W. Copp, Harry Collins, Professor Fujimura, McKinnon etc., along with a group of boys from Matsumoto High School and several others. Excellent and interesting group of photos of the breathtaking mountain scenery of Japan. Mountaineering was and is a defining interest of the Japanese - there are still gods in those mountains.

$985.00

 

   

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86067.SMITH, George, Bishop of Victoria (Hong Kong). TEN WEEKS IN JAPAN. London: Longman, Green, Longman, and Roberts, 1861. First edition. Illustrated with eight tinted wood-engraved plates by G. Pearson, five of which are after photographs from Negretti and Zambra's "Views in Japan", with tissue guards, plus a fine folding map of 'Japan and the adjacent countries': 41 x 33 cm, engraved by Edward Weller, color outlining in blue, scale in Geographical and English miles. Octavo. xv,[1],459 pp. Original publisher's binding of purple cloth with blind-stamped frames on sides, gilt title on spine, and a gilt-stamped 'Japanese official gentleman' on upper board. Brown coated endpapers, with publisher's advertisements printed on pastedowns, and a binder's ticket ('Bound by Edmonds & Remnants - London') on rear pastedown. Early ink ownership on verso of ffep. Binding is sound but shows signs of superficial wear, being slightly faded on spine, with bottom forecorners discolored, and a small gouge on the upper board. Text and plates are clean but for some light pencil checks in margins and a couple of notes on recto of rear fep. A very good copy of Smith's account of his visit to Japan, a scarce and important first person narrative of the trip which included stops at Nagasaki, Yokohama and Tokyo (Yeddo), and his reactions to all that he saw along the way. (Cordier 553).

$375.00

 

 

 

 

   

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85190.[TRAVEL - YOKOHAMA]. (AMENOMORI, N.) (THE GRAND HOTEL, LIMITED. H. E. MANWARING, MANAGER. GUIDE BOOK FOR) YOKOHAMA AND VICINITY. (Yokohama: "Japan Gazette" Press, 1911). A small pocket-size guide (14 x 10.5 cm) in color illustrated paper wrappers, that show the Grand Hotel on the front and a view of Fuji on the back, side-sewn with ribbon ties. [4],65,18 text pp., 81 adv. pp., + folding map. Following the first section, a description of the hotel and the surrounding area, which also includes lists of holidays, postage, money, weights, and measures, etc., there is a section of Anglo- Japanese conversation for tourists. The advertising section is comprised of a wide variety of merchants, products, and services (pearls, jewels, and curios, silks and embroideries, photography studios, fine hotels, pharmacies, cars for hire, ship and rail lines, etc.). The small fold-out plan (12.5 x 20 cm) of Yokohama City at the end is in fine condition. Negligible edgewear to wrappers, and the first few text leaves have one slightly dog-eared corner, otherwise it is quite fresh and in very good condition overall.

$285.00

 

 

   

 

   

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89428.[ATLAS] Bridgeman, E.C. translated by Mitsukuri Genpo 箕作阮甫. RENPO SHIRYAKU 連邦史略 2 vols. Tôkyô, Zodiacal date of Meiji 4 [1871]. String-bound, Japanese-style, fukuro-toji. An interesting work by Bridgeman, the Chinese missionary, originally published in Chinese but here marked for reading as Japanese (kanbun). Thus not a translation as we might understand the term, but a long standing aid for literate Japanese to understand the original classical Chinese. With a number of b+w and some color maps of the USA, along with a text describing US history, culture, economics, etc. A bit of cover soiling outside and the scattered signs of insect damage internally, but overall a very good copy. Upon comparison to the original Japanese edition of 1861, there is not much to choose between them.

$2,500.00

 

 

 

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75101.GREEY, Edward. THE BEAR WORSHIPPERS OF YEZO and the Island of Karafuto (Saghalin). Or, The Adventures of the Jewett Family and Their Friend Oto Nambo. One hundred and eighty illustrations by Rinzo and by Ichiske Hamada. Cover designed and drawn by the author. Boston: Lee & Shepard, 1884. 8vo, decorated brown cloth- covered boards, gilt; xiii + 304pp. Rebacked, this copy has been successfully repaired so that it is handsome from the outside and quite useable. The rear endpaper is a bit ugly as is the rear pastedown. Withdrawn from the library of the American Museum of Natural History, with the original bequest bookplate of the early traveler/anthropologist Albert S. Bickmore, the author of the classic: TRAVELS IN THE EAST INDIAN ARCHIPELAGO of 1869. Interesting association copy. Overall good condition with faults as above.

$75.00

   

 

 

   

 

 

 

 

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90493. Gotō Seikichirō 後藤清吉郎. KAMI NO TABI 紙の旅.Showa 39 [1964]. Tokyo. Bijutsu Shuppansha.Large oblong folio in washi covers, 33.5 x 44.3 cm. #261 of 300cc. Illustrated beautifully in katazome throughout. The illustrations as well as the text are by Gotō, a fine artist as well as one of the most eminent scholars of Japanese papermaking. Besides the textual illustrations there are a large number of full page color prints which are lovely indeed. Paper samples are tipped in, the book is printed on handmade paper, bound in it and enclosed in it, as the clasped case is washi over boards, as well. The text, in Japanese, is scholarly, succinct and informative. All in all, a truly remarkable work. A near fine copy, perhaps the cleanest and freshest we have seen.

$1,950.00

 

 

 

 

 

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90488. [KATAZOME] OKAMURA Kichiemon 岡村吉右衛門. NARADA NO TAFU 奈良乃太布. Shôwa 35 [1960]. String-bound Japanese-style, privately printed in 50 copies. 31.1 x 19.7 cm., Okamura (1916-2002) was a student of Serizawa Keisuke and embraced his interest in traditional Japanese folk arts, papermaking and stencil printing (katazome). This lovely monograph on Japanese bark-cloth from the town of Narada in Yamanashi Prefecture has two samples and is illustrated throughout with colorful and lively katazome. Signed by the author and artist, Okamura. Fine condition, in the original folding case with printed title label.

$650.00

 

 

  

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90487.Okamura Kichiemon 岡村吉右衛門. DATE MONIWA NO SHINANUNO 伊達茂庭之榀布. N.p. Shōwa 35 [1960]. 30.4 x 20.8 cm. One of 200 copies, signed by Okamura. (Other reading of title is Date Moniwa no Shinanuno.) Tipped-in fabric sample approx 17 x 9.5cm. The work, printed in stencil in color on handmade paper is string-bound, Japanese-style, fukuro-toji. Okamura was Serizawa's most important student and excelled at producing compelling livre d'artiste in the early post-War years. Very fine in the original publisher's wraparound case.

$750.00

  

 

 

 

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90483.Okamura Kichiemon 岡村吉右衛門 TOKUJIRÔ SHÔGYÔ 徳次郎正業 Privately printed. Shōwa 35 [1960]. 29.9 x 21.3 cm. One of 100 copies, signed by Okamura. The work, printed in stencil in color on handmade paper is string-bound, Japanese-style, fukuro-toji. Okamura was Serizawa's most important student and excelled at producing compelling livre d'artiste in the early post-War years. Very good in the original publisher's wraparound case.$650.00

 

 

 

 

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90396.Okamura Kichiemon 岡村吉右衛門. NÔTÔ GÔSHÛBANDANI 農陶江州伴谷. 昭和33年(1958). Folio of 6 stencil prints 33.5 x 28cm on Japanese paper plus one stenciled title page in a case 35 x 30cm. Limited edition of 100. 

Original stencils in dark blue, medium blue and yellow in the traditional mingei style depicting the tasks of Japanese village dwellers as they go about their daily lives and create farming pottery.

Okamura was a student of the Living National Treasure and well-known Mingei artist Serizawa Keisuke.

$600.00

 

 

 

 

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90498.Okamura Kichiemon 岡村吉右衛門 . OKUSHIMA TÔZAN 奥嶋唐棧. Sansei Kōgei 三彩工芸 [Sansei Arts and Crafts]. Osaka. Shōwa 52 [1977]. A limited edition of 200 copies. 27 x 22.5 single volume opens Japanese style and is housed in a chitsu with clasps 27 x 23.5cm. In a cardboard box 29 x 25.5cm with printed title sheet. [25] pages of traditional Japanese fabric samples, from one to three per page, ranging in size from approx 3.5 x 5.5 to approx 14 x 13cm with printed Japanese text. Hanko and signature on colophon.

The fabrics are samples of a type of cotton woven fabric called Tōzan 唐棧, that is striped and tightly woven with a smooth surface. This particular fabric is representative of Okushima, which was originally an independent island located in the middle of Lake Biwa in Japan. Most of the fabrics are subtle variations on navy, with red or tan stripes. Each page lists the type of fabric in printed Japanese text. 67 pages of Japanese text by the author, broken down into a preface and 5 chapters, on different aspects of the fabric, such as geographical context, materials and weaving and dyeing. A beautifully presented archive of a traditional, and nearly lost, artform.

Slight foxing on portfolio cover and book cover. Otherwise fine condition.

$485.00

 

 

 

 

 

 

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89152. Okamura Kichiemon 岡村吉右衛門. WASURE NOKOSARESHI MUTSUGAMI NO HANASHI 陸奥紙残忘緑 (忘れ残されしむつがみのはなし) 29.9 x 21.6cm string-bound, Japanese-style. One of 50 copies printed. Signed by the artist. 21 x 15cm printed explanation booklet in Japanese laid in.

Stencil printed monochrome with textual illustrations on records of hand papermaking from the provinces of the far north in Japan. Four samples of paper approx 5 x 5cm tipped in. About fine condition, in the original 30 x 21.5cm portfolio cover. Lovely.

$675.00

 

 

 

 

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88330.GOTÔ Seikichirô. NIHON NO KAMI (JAPANESE HAND-MADE PAPER) 日本の紙 Vol.1 Northeastern Japan. 東日本 Vol.2 Western Japan 西日本 Bijutsu Shuppansha, Tokyo 1958, 1960. 42.3 x 26 cm, Folio in size, bound Japanese style. With many paper samples, illustrated throughout with katazome prints. Volume 1 has a Bi-lingual English and Japanese text detailing a journey to the main paper-making sites in Northeastern Japan undertaken in 1957 by Mr. Gotô, the foremost scholar of papermaking in the post war period. The second volume details a similar trip to Western Japan. Both volumes are signed in Kanji by Gotô and numbered as #45 (out of a edition of 200) Our volumes are both in their individual tied chitsu and shipping boxes. A lovely set of this classic work. There is a bit of fore-edge foxing, else near fine condition overall.

$3,250.00

 

 

 

 

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86386.[PAPERMAKING] Inogami Kabushiki Kaisha 伊野紙株式会社. MASAKI UNRYÛSHI  正木 雲龍紙. Oblong, ribbon-bound collection of paper samples from the Inogami Paper company on Shikoku Island. Unryushi [Cloud Dragon Paper] is a wonderful tissue of varying thicknesses creating patterns, as well as pierced patterns. Approximately 100 samples are in this book, issued most probably in the later 1950's or 1960's. The printed cover is creased but the papers are clean and remarkable.

$350.00

 

 

   

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86322.[PAPERMAKING] SERIZAWA Keisuke. 芹沢銈介  KAMI WO TSUKURU HITOTACHI. 紙を作る人たち Privately printed by Serizawa in Shôwa 25 [1950] in an edition of 50 copies. 30 x 28 cm. 7 pages, katazome prints in wrappers with a printed paper title label. Enclosed in a hand printed folding cover which is a work of art in itself. Obviously a very scarce production, this copy has been scrupulously restored and the price reflects the repairs.. Overall condtion is now very good.

$1,850.00

 

 

 

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89241.SERIZAWA Keisuke 芹沢銈介, artist. SHIKIBA Ryûzaburô 式場隆三郎, author. MINGEI TO SEIKATSU  民芸と生活. Tôkyô, Shôwa 19 [1944]. Privately published by the author and printed in Tôkyô before the disastrous air raids to come. Bound Western-style, 26.8 x 19.0 cm., printed on over 400 pages of wonderful Japanese hand-made paper, with many illustrations by Serizawa. Copy number 32 of the edition of 100 copies. Signed by Shikiba, a noted figure in Mingei folk art circles. The preface notes that this privately printed edition of FOLK ART AND LIFE was made possible by the procurement of the deluxe paper through the good offices of a friend. The "trade" edition which appeared in 1943 had been produced on such bad wartime stock that the Serizawa illustrations had been skipped and are here restored. Aside from a crease on the FFEP, an almost perfect copy, with the original plain dustwrapper, and the publisher's box. Remarkable production from the last days of the War.

$1,250.00

 

   

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89328.[SÔSAKU HANGA] OKAMURA Kichiemon, artist. IYOMANTE KUMA MATSURI AINU. A privately printed portfolio with a printed paper title label. 35.2 x 30.1 cm. Each of the 5 b+w woodblocks prints on washi is signed and sealed by Okamura, the group is further dated to 1958 and has a woodblock printed title page. One of 100 copies printed by Okamura. Well-printed depiction of the bear festival held in Ainu country. Very unusual.

$1,250.00

 

 

 

 

   

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89493.[SÔSAKU HANGA] OKAMURA Kichiemon 岡村吉右衛門, artist. MANYÔ SHIKI HANA ZUKUSHI 萬葉四季花盡し. 32.3 x 20.3 cm Privately printed in the fall of Sho^wa 19 [1944] by the artist using kappazuri stencil printing. String-bound Japanese-style, fukuro-toji. Printed paper title label. About fine condition. #42 of 100 copies.

$475.00

 

 

   

 

   

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90489. Okamura Kichiemon 岡村吉右衛門 ZAYÛ SANBÔ NO SHÔ 座右三宝之頌 3 v. 32.2 x 20.4 cm. Privately published in 100 copies by Okamura Kichiemon 岡村吉右衛門, a remarkably talented and prolific artist and scholar, who recorded the arts and crafts of postWar Japan using the stencil techniques of katazome dyeing on beautiful washi hand-made paper. This set is very unusual; one of his most extensive and lavish productions. All three volumes are present, each signed, issued over the course of 1955 into 1956.

Without the original clasped chitsu case with printed paper title label. Slight dustsoiling to the covers, else very good and very unusual.

$1,150.00