WELCOME TO CATALOGUE 53B
JAPAN AND ASIA

 

JAPANESE ARCHITECTURE, PHOTOGRAPHY AND THE AVANT-GARDE

 

 

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Section One:
PREWAR ARCHITECTURE
 

 

 

 

 

 

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1.[ARCHITECTURE] IMAI Kenji. SOUEETO ROSHIA SHINKO KENCHIKU ZUYO. Tokyo, Kyôyôsha, Shôwa 6 [1931]. 1st Printing. 8vo. size portfolio of 54 plates, complete. Details the "New Architecture" of the Soviet Union, crediting the prominent buildings to their creators, including brief plans and pictures. Imai Kenji [1895-1987] was an eminent architect and scholar, whose few commissions were eclipsed by his enormous influence as a teacher who mediated the introduction of modern architectural trends to Japan. A bit worn but very good condition overall.

SOLD

 

 

 

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2.[FURNITURE] Kenmochi Isamu. Kenchiku Shinsho 9 KIKAKU KAGU. Tokyo, Shôwa 19 [1944] 2nd printing after the first of 1943. 12mo., bound Western style in illustrated boards, heavily illustrated with photos. THE STANDARDS OF FURNITURE was an important work, as is evidenced by its reprinting in the closing days of a losing war effort. Kenmochi is generally acknowledged to be one of the foremost industrial designers of the 20th century. In very good condition.

$385.00

 

 

 

 

 

 

 

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3.[IMPERIAL HOTEL] INUMARU Tetsuzô. THE IMPERIAL HOTEL GUIDE. N.P., N.D. [Tôkyô, 30s?] Decorated wrappers. 14.5 x 9.0 cm. Bi-lingual English-Japanese PreWar guide to services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The brief introduction is by Inumaru, who revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition - unillustrated save the covers.

SOLD

 

 

 

 

 

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4.[IMPERIAL HOTEL] INUMARU Tetsuzô. THE IMPERIAL HOTEL GUIDE. N.P., N.D. [Tôkyô, 30s?] Decorated wrappers. 14.6 x 9.1 cm. Bi-lingual English-Japanese PreWar guide to services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The brief introduction is by Inumaru, who revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition - unillustrated save the covers.

SOLD

 

 

 

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5.[IMPERIAL HOTEL] N.P., N.D. [Tôkyô, 20s?] Oblong ribbon-bound illustrated wrappers. 11.7 x 15.2 cm. Japanese PreWar précis of services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The covers illustrate the layout of the hotel complex and there are ten color photo illustrations of interior and exterior views. The Imperial Hotel, through the influence of its long-time general manager, Inumaru Tesuzo, revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Faint dust-soiling along top edge of one cover, else fine. The illustrations are lovely.

SOLD

 

 

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6.[IMPERIAL HOTEL] TEIKOKU HOTERU Tôkyô. N.D. [30s?] Illustrated wrappers. 16.3 x 11.6 cm. Japanese PreWar précis of services, prices, customs, etc. at the Frank Lloyd Wright-designed masterpiece. The covers illustrate a watercolor of the Hotel and inside there are ten b+w photo illustrations of interior and exterior views. The Imperial Hotel, through the influence of its long-time general manager, Inumaru Tesuzo, revolutionized Japanese hotel practice, bringing it into line with the finest establishments in Europe and America. Like new condition.

SOLD

 

 

 

 

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7.[INTERIOR DESIGN] KONDO Sei-ichi. SHITSUNAI SOSHOKU. Tôkyô & Osaka, Shôwa 5 [1930]. Small 8vo., 365pp+. Ads. Preliminary section of photo illustrations. Exhaustive study of "transitional" decorative techniques which embrace Western elements such as chairs and tables and integrate them with a more traditional decorative sensibility. The book itself is about in a very good slipcase. Complete.

$145.00

 

 

 

 

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8.[PREWAR ARCHITECTURE]. DAI-ICHI GINKO. Tokyo: Shôwa 5 [1930]. Western-style binding in wrappers. Includes 9 tipped-in photos of the new Dai-Ichi Bank building in Tokyo. There are 17 plates as well, and text describing the history of the bank. In addition, there is a small wrappered pamphlet describing the new building, itself, with floor plans, etc. and a laid-in photo of the building. Some foxing and a few of the tipped in photos have edgewear. Overall good condition.

$250.00

 

 

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9.[PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 17-nenpan. Tokyo, Shôwa 18 [1943] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1942 has a few photo illustrations and much textual detail on projects completed, etc. Good.

$95.00

 

 

 

 

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10.[PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 14-nenpan. Tokyo, Shôwa 15 [1940] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1939 has a few photo illustrations and much textual detail on projects completed, etc. Good.

$95.00

 

 

 

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11.[PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 15-nenpan. Tokyo, Shôwa 16 [1941] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1940 has a few photo illustrations and much textual detail on projects completed, etc. Good.

$95.00

 

 

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12.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. SHINKO NIHON NO JUTAKU. Tôkyô, Kôyôsha, Shôwa 9 [1934] 1st printing. Spiral bound, 19.2 x 15.9 cm, 50 plates of "MODERN JAPANESE DOMESTIC ARCHITECTURE". Mostly interior details in an internationalist- influenced style. Very good condition, complete in the original slipcase. Quite unusual.

$245.00

 

 

 

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13.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. BEIKOKU TOSHOKAN KENCHIKU. Tokyo: Kyôyôsha, Shôwa 3 [1928], 2nd printing. Originally published in 1926. Small portfolio in tied covers, 19 x 13 cm., enclosing a preliminary sheet and 50 numbered photographic plates illustrating "American Library Architecture". Interesting display of contemporary design. Very good condition overall.

$125.00

 

 

 

 

 

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14.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. KAIDAN Tokyo: Kôyôsha, Taishô 7 [1918]. The first printing, "hors commerce". Small portfolio in tied covers, 19 x 13 cm., enclosing a preliminary sheet and 50 numbered photographic plates illustrating staircases. Interesting display of interior design. Very good condition overall.

$175.00

 

 

 

 

 

 

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15.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. KAIDAN II Tokyo: Kôyôsha, Taishô 10 [1921], the 1st printing. Small portfolio in tied covers, 19 x 13 cm., enclosing a preliminary sheet and 50 photographic plates, numbered 51-100, illustrating staircases, the second series. Interesting display of interior design. Portfolio is split at one fold and has a clumsy tape repair, but its condition is still very good overall.

$175.00

 

 

 

 

 

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16.[PREWAR ARCHITECTURE] Kenchiku Shashin Ruishû. SHINSHITSU TO KESHOSHITSU Tokyo: Kôyôsha, Taishô 6 [1917]. Small portfolio in tied covers, 19 x 13 cm., enclosing a preliminary sheet and 50 numbered photographic plates illustrating bedrooms and dressing rooms. Interesting display of interior design. One hinge of the portfolio is weak, but the condition is Very good overall.

$150.00

 

 

 

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17.[PREWAR ARCHITECTURE] Kôyôsha. Kenchiku Shashin Ruishû KINDAI SOSHOKU ISHO ZUAN Tôkyô, Taishô 12 [1923]. An interesting small, 19.1 x 13.3 cm, portfolio from the Illustrated Architecture series, this one on design motives and decorative elements with a heavy Deco influence. The ties of the little portfolio are missing, else about good.

$145.00

 

 

 

 

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18.[PREWAR ARCHITECTURE]. NISHIKAWA Tomoyoshi. GENDAI JUTAKU NO GAISO. Tôkyô, Shôwa 9 [1934]. 18.9 x 13.3 cm. Western-style binding. 37 plates of domestic exteriors, followed by 135 pp of text. Very good condition in the original slipcase.

$135.00

 

 

 

 

 

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19.[PREWAR ARCHITECTURE] Obayashi Gumi. TOKYO GEKIJO. Osaka, Shôwa 5 [1930]. Large 8vo., wrappers, illustrated with photos throughout, along with many plans. A visual and textual discussion of Shôchiku's TOKYO THEATRE, a large Western-style building designed for the performance of Kabuki, one of several Kabuki theatres in Tokyo which provided venues for Shôchiku's near monopoly of traditional theatre at the time. Interestingly enough, the TOKYO THEATRE was the only one of Shôchiku's venues to survive the war and became the center of Kabuki production during the Occupation. The Obayashi Gumi which built the theatre and published this guide, survives today as one of the major contractors in Japan. Very good condition throughout with slight soiling to the covers.

$750.00

 

 

 

 

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20.[PREWAR ARCHITECTURE] TAKASUGI Mikitarô, editor. JUTAKU KENCHIKU Kenshô Sekkei Zuanshû. Tôkyô, Kenchiku Gakkai, Shôwa 9 [1934]. 8vo., printed wrappers. This book of award-winning designs for domestic architecture has forty plus pages of designs and projections. Very good condition.

$165.00

 

 

 

 

 

 

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21.[PREWAR ARCHITECTURE]. TEIKOKU GIKAI GIJIDO KENCHIKU NO GAIYO. Tokyo, Shôwa 11 [1936]. Large 8vo., wrappers, 120+pp. Interesting summary of the design and construction of the the new National Diet building, Heavily illustrated throughout. The Diet building, of course, was spared in the air raids at the end of the war and is still being used as the seat of government today. In very good condition.

$135.00

 

 

Section Two:
 
 
PHOTOGRAPHY, MOSTLY POSTWAR

 

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

$165.00

 

 

 

 

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23.[PHOTOGRAPHY] WRIGHT, Frank Lloyd. Photo of Wright's Imperial Hotel, Tokyo, c.1960 20.3 x 25.3 cm. A somewhat forlorn-appearing Imperial Hotel with a few late 1950's cars parked in front depicted on a gloomy day. The hotel would be demolished about a decade later. Good condition - interesting and evocative b+w image.

SOLD

 

 

 

 

 

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24.[PHOTOGRAPHY - JAPANESE] FUJIWARA Shin'ya. SHONEN NO MINATO. Tokyo, Switch Corp., 1992. Folio, wrappers in dustwrapper and bellyband. Signed by Fujiwara. Very fine. For more on the artist, see www.fujiwarashinya.com

$175.00

 

 

 

 

 

 

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25.[PHOTOGRAPHY - JAPANESE] INOUE Hisashi & MITOME Tadao. KOKUGO JIKEN SATSUJIN JITEN. Tokyo, 1982. Square 8vo., Photos by Mitome, the winner of the first Ken Domon Photography Prize and text by Inoue. The title reveals all, but it is a very complex pun, untranslatable with our poor skills. A "kokugo jiten" is a dictionary of a given language; a "satsujin jiken" is a murder. Reversing the euphonic words creates an ironic and deliberate Spoonerism. An interesting and powerful look at the outrages of violence perpetrated across the contemporary world and the words used to describe them. Printed boards, fine in illustrated dustwrapper and bellyband. Text in Japanese.

$95.00

 

 

 

 

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26.[PHOTOGRAPHY - JAPANESE] KANAI, Moroi. MONOCHROME DEJA VU FROZEN SCENERY: HOLLAND with CD. Tokyo: Chez Takibana, 2000. [unpaginated]. Square 8vo., white wrappers printed in black with cutout front cover exposing b/w postcard mounted on folding panel beneath; glassine dust jacket nicked at edges. Audio CD in sleeve mounted to rear inside cover (pianist Sakuya Nishikiori). Near fine (jacket nicked) - interior fine. Black and white photo reproductions. Text and captions in English and Japanese.

$75.00

 

 

 

 

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27.[PHOTOGRAPHY - JAPANESE] KANNO Jun. UMI TO NO AI THE SEA AND ITS LOVE. Tokyo, Little More, 1997. Large square 8vo., wrappers, Original publisher's bellyband, glassine. Illustrated throughout with color photos by Kanno of Japanese at the beach - not a common subject and one handled here with considerable gentle humor. A very fine copy.

$65.00

 

 

 

 

 

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28.[PHOTOGRAPHY - JAPANESE]. LOVE'S BODY RETHINKING NAKED AND NUDE IN PHOTOGRAPHY RABUZU BODII - Nuudo Shashin no Kingendai. Asahi Shimbunsha, Tokyo, 1998. Printed paperbound covers, folio. Catalog of a show from the Suntory Museum and the Tokyo Metropolitan Museum of Photography. Wonderful interplay between image and bilingual text, profiling the nude photography of 20 artists, including 6 from Japan, from Mapplethorpe to Bianchi to Takayuki. Fine condition. Unusual.

$95.00

 

 

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29.[PHOTOGRAPHY - JAPANESE] Moriyama DAIDO. IMITATION. Tokyo, Taka Ishii Gallery, 1995. Boards, large 8vo., 18/500cc. Daido's inimitable juxtapositions of form, human and otherwise. Fine. Signed by the master, Daidô.

$575.00

 

 

 

 

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30.[PHOTOGRAPHY - JAPANESE] Moriyama DAIDÔ. DAIDO hysteric no.6 1994. Tokyo, hysteric glamour, 1993. Large square folio, illustrated wrappers, 177 images (many double page) over 360 pages. Limited edition. This copy has a bit of mild creasing marks to the covers but overall in very good condition. Remarkable work in black and white - dark, grainy and ominous - certainly not a tourist's brochure view of Japan. Daido is among the most important of Japan's contemporary photographers. Hysteric Glamour, the publishers, have produced a seminal series of monographs all through the 90's and to the present day, capturing the essence of the latest trends in Japanese photography and presenting them with great sympathy and skill.

$850.00

 

 

 

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31.[PHOTOGRAPHY - JAPANESE] MUDA Tomohiro. IN PRAISE OF JAPANESE BEAUTY: Japanese Aesthetics Through the Lens of Tomohiro Muda. (Tokyo): Coherence, (2006). First edition. Illustrated throughout with Muda's color photographs of Japanese cultural treasures, venerable examples of art and architecture. 136 pp. including illustrations, + errata slip laid-in. The text by Tomoko Takahashi is preceded by an introduction by Mitsumasa Aoyama, the owner of Yufuku Gallery, and a prologue by Tomohiro Muda. Translated by Wahei Aoyama. Folio, 36 x 26 cm, bound in paper-covered boards with an antique gold finish and gilt-stamped title to spine and upper board, in a color-illustrated dust jacket. A fine copy but for slight bumping to boards at top fore-corner.

$285.00

 

 

 

 

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32.[PHOTOGRAPHY - JAPANESE] NAITO Tadayuki. SAKURA-COSM. Tokyo, Switch Corp., 1990. Folio, with publisher's bellyband, all in dustwrapper, Fine. Signed by Naitô.

$150.00

 

 

 

 

 

 

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33.[PHOTOGRAPHY - JAPANESE] OKURA Shunji, photograph. MUSASHINO. Tokyo, Single Cut Inc., 1997. 4to., interesting b+w images of Tokyo's western suburbs. Japanese text with an English translation laid in. Near mint.

$95.00

 

 

 

 

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34.[PHOTOGRAPHY - JAPANESE] SAKATA Eiichiro. AMARANTH. Tokyo, Asahi Shinbun, 1995. Folio, white, paper-covered boards in pictorial dustwrapper. Mnay interesting celebrity portraits, Inscribed by Sakata. Slight jacket soiling, else fine.

$95.00

 

 

 

 

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35.[PHOTOGRAPHY - JAPANESE] SANAI Masafumi. IKITE IRU. Kyoto, Seigensha, 1997. Large square 4to., illustrated soft covers., "LIVING" is the tile - a series of fragmentary images of urban life, mostly in color. A mixture of the solemn and the silly captured with a penetrating eye. Provokes a real feeling of deja vu in the viewer.

$150.00

 

 

 

 

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36.[PHOTOGRAPHY - JAPANESE]. SHINJUKU GRAND PALACE. Tokyo, Shinchôsha, 1998. Oblong 4to. Boards in illustrated dustwrappper. 13 photographers capture Shinjuku as transportation hub, entertainment venue, party-district, etc., etc. Vignettes of full bore urban life. Fine.

$75.00

 

 

 

 

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37.[PHOTOGRAPHY - JAPANESE] TANAKA Kôtarô. YUME SENYA THE WORLD OF KOTARO TANAKA TANAKA KOTARO SHASHINSHU. Osaka, 1990. Large Folio, boards in slipcase. Signed by Tanaka, whose color exposures of fireworks' displays are quite interesting. Bilin

$95.00

 

 

 

 

 
 

 

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38. [PHOTOGRAPHY - JAPANESE] TANUMA Takeyoshi. NINGEN BANZAI HANDS AND VOICES Photographs by Takeyoshi Tanuma. Tokyo, Creo Corporation, 2000. Folio, boards, illustrated throughout with color photos taken all over the world by Tanuma. Signed on the ffep by Tanuma. Fine condition in dustwrapper.

$120.00

 

 

 

 

 

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39.[PHOTOGRAPHY - JAPANESE] TERAJIMA Akiyoshi. TERAJIMA AKIYOSHI - SAKUHINSHU. Tokyo, TB Design, 1979, oblong 8vo. Boards, in cardboard slipcase, one of 1000cc. Signed by Terajima. About fine.

$120.00

 

 

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40.[PHOTOGRAPHY] DOMON Ken. MUROJI. Tokyo: Bijutsu Shuppansha, 1954. 35 x 26 cm. Bound Western-style in wrappers with dustwrapper. Text in Japanese by Kitagawa Momô. Wonderful black and white photo plates of the Muroji temple. Dômon Ken was one of the greats of 20th century Japanese photography. In the early postwar period he concentrated on photographing temples, etc., perhaps because of his prewar work on such glossy propaganda magazines as FRONT. With the original publisher's slipcase. The slipcase is breaking, the book itself is near fine inside and out.

$160.00

 

 

 

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41.[PHOTOGRAPHY] FUKUDA Katsuji. ONNA NO UTSUSHIKATA PHOTOKUNST VON FRAUEN Tokyo: ARS, Shôwa 12 [1937]. 8vo. Techniques for photographing women by Fukuda (1899-1991), an important photographer in pre-war Japan. From the ARS series of practical handbooks on photographic technique. The original edition. Some speckling to the spine, else near fine in clean slipcase.

$150.00

 

 

 

 

 

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42.[PHOTOGRAPHY] FUKUHARA Shinzô, editor. MUSASHINO FUBUTSU. Tokyo, Shôwa 18 [1943]. Octavo, bound Western-style in cloth. 159+ pp. Fukuhara [1883-1946] is an interesting character. Considered one of the first Japanese photographers dedicated to the medium as an art form, he was also an important business and cultural figure. As the second generation head of the Shiseidô cosmetics firm, he was involved in their creation of a promotional "signature" in their advertising (often embellished with photographs) and design sense, as embodied in the work of their head of design, Yamana Ayao. Shiseidô was a vehicle for the promotion of a progressive photographic language, including surrealist photomontage, in their in house productions. Thus, from one point of view Fukuhara might be seen as a gifted amateur photographer, here publishing his own work and that of the Nihon Shashin-kai in a rather bleak pictorialism idiom. But he was also a deeply influential cultural catalyst of the "modern" in Japanese design in the 20th century. This is his last book, in very good condition, in the original slipcase.

SOLD

 

 

 

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43.[PHOTOGRAPHY] KIMURA Ihei. KOGATA KAMERA NO UTSUSHIKATA TSUKAIKATA. Tokyo, Genkôsha, Shôwa 12 [1937]. 8vo. A master's handbook to photographic techniques, here on the use of the pocket camera. Kimura Ihei's second publication, from his early years. It includes the famous images of a market-day in Naha (Okinawa) as well as photographs that were later used in 'Japanese School Life' (1937) 'The Girls of Japan' (1939), and 'Japan through a Leica' (1939). Detailed technical information is given on each image as well as the location and circumstances of the shot. Includes an original Kimura photograph of a lady holding an opened magazine with a nude picture, that was printed by Koishi Kiyoshi. Unusual and interesting work. Overall good condition in a slightly soiled and edgeworn slipcase.

$1,250.00

 

 

 

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

SOLD

 

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45.[PHOTOGRAPHY] OZAKI Sankichi. POOTOREETO NO UTSUSHIKATA PORTRAIT Tokyo: ARS, Shôwa 14 [1939]. 8vo. Techniques for portrait photography by Ozaki (1912-1994), an important photographer in pre- war Japan. From the ARS series of practical handbooks on photographic technique. The original edition. Some rubbing on the spine, else very good in rubbed slipcase.

$160.00

 

 

 

 

 

 

 
Section Three:
THE AVANT-GARDE, MOSTLY PREWAR

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46.[AVANT GARDE] NOBORI Shomu, editor. SHIN ROSHIA PAMFURETTO 4 SHIN ROSHIA BIJUTSU TAIKAN. Tokyo, Shinchôsha, Taishô 14 [1925], fifth printing. Small 8vo., bound western style in wrappers. The first of two volumes on the arts in the "New Russia" of the 20's, part of the important series edited by Nobori, called the "New Russia Pamphlets". Profusely illustrated with b+w photo plates. Some foxing, about good.

$150.00

 

 

 

 

 

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47.[AVANT GARDE] UMEHARA Hokumei, editor. BUNGEI ICHIBA [BUNGEI SHIJO] Vol.3 #6. Wrappers, 21.7 x 15 cm. Tokyo, Shôwa2 [1927] First published in November of 1925, the BUNGEI ICHIBA [MARKET OF THE ARTS] unleashed its mordant humor on the literary world of Japan. The contents ran the gamut from literary gossip to the latest on Russian and European art and literary movements and theorists. At first solidly left wing, with contributions by such important figures as Murayama Tomoyoshi, the magazine lasted for 19 issues, into 1927, when Umehara took his interests into less political and more scandalous avenues and began publishing GROTESQUE magazine, the heart of the ero-guro movement. This Volume 3 #6 is nearing the end of the magazine's run and its content seems less daring than earlier issues, the pendulum seems to have swung to tradition. It might be considered that Umehara's fundamental impulse was anti- censorship, not necessarily anti-authoritarian. By the invasion of Manchuria in the early 1930's his sympathies had gone over to the army and his erotic journals were full of pompous justifications of war written by active figures in the military high command. This copy of the BUNGEI SHIJO is a bit edgeworn and slightly soiled, but quite good overall. Umehara, and his productions BUNGEI ICHIBA and GROTESQUE are important and interesting material for an understanding of the evolution going on from late Taishô into Shôwa.

$150.00

 

 

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48.[AVANT GARDE] UMEHARA Hokumei, editor. GUROTESUKU GROTESQUE Vol.1 #2. Wrappers, 21.7 x 15 cm. Tokyo, Shôwa 3 [1928] GROTESQUE is in one sense the successor to the important avant garde journal BUNGEI SHIJO, first published in November of 1925, At first solidly left wing, with contributions by such important figures as Murayama Tomoyoshi, the magazine lasted for 19 issues, into 1927, when Umehara took his interests into less political and more scandalous avenues and began publishing GROTESQUE magazine, the heart of the ero-guro movement. This second number barely reached the light of day as the first issue with its bare-breasted lovelies had been far too popular. It might be considered that Umehara's fundamental impulse was anti-censorship, not necessarily anti-authoritarian. By the invasion of Manchuria in the early 1930's his sympathies had gone over to the army and his erotic journals were full of pompous justifications of war written by active figures in the military high command and callous commentary on published photos of war atrocities were not uncommon. Umehara, and his productions BUNGEI ICHIBA and GROTESQUE are important and interesting material for an understanding of the evolution going on from late Taishô into Shôwa. It is quite clear that Murayama and Umehara, who had cooperated at the dawn of the avant garde, ended up going in very different directions. Overall good condition.

$185.00

 

 

 

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

SOLD

 

 

 

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

$750.00

 

 

 

 

 

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51.[JAPANESE FUTURISM] Marinetti, Filippo Tommaso. Translated by Kanbara Tai. DENKI NINGYO. Tôkyô, Shimode Shoten, Taishô 11 [1922]. Bound in printed paper-covered boards. Prelims, 180pp, finals. Futurism was an early import of the avant-garde to Japan and Kanbara Tai had started to correspond with Marinetti while he was still in his teens, during the first world war. This is the first appearance of POUPÉES ÉLECTRIQUES in Japan, and it includes critical essays, as well as the translation, itself. Kanbara, as painter and critic, would go on to become a very important pioneer of the Japanese avant-garde. Our copy of this scarce book is soiled and the lower part of the spine and the adjoining front cover corner are nibbled.

SOLD

 

 

 

 

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

$285.00

 

 

 

 

 

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

$750.00

 

 

 

 

 

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

$485.00

 

 

 

 

 

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

$950.00

 

 

 

 

 

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

$3,600.00

 

 

 

 

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

$950.00

 

 

 

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58.[MAVO] HAGIWARA Kyôjiro. SHIKEI SENKOKU. Tokyo, 1925. Prelims, 11pp, 6pp., 161pp., 5pp., finals. Profusely illustrated throughout in linocuts by Okada Tatsuo, Toda Tatsuo, and Yabashi Kimimaro. Wrappers designed by Okada. With the Okada-designed slipcase and very scarce as such. Perhaps the most important Mavo-inspired volume. Here in the second issue with the addition of color to the covers and a few of the plates. A cornerstone of any MAVO collection. The spine is darkened, the covers and slipcase are a bit rubbed. But all and all, a good copy of this fragile work. For more on its importance, see Weisenfeld's book, MAVO, JAPANESE ARTISTS AND THE AVANT GARDE, pp. 97-101.

$9,500.00

 

 

 

 

 

 

 

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59.[MAVO] HAGIWARA Kyôjiro. SHIKEI SENKOKU. Tokyo, Taishô 14 [1925]. Prelims, 11pp, 6pp., 161pp., 5pp., finals. Profusely illustrated throughout in linocuts by Okada Tatsuo, Toda Tatsuo, and Yabashi Kimimaro. Wrappers designed by Okada. INCLUDES THE OKADA-DESIGNED SLIPCASE. Perhaps the most important Mavo-inspired volume, and, in its first edition, as here, the rarest. Far more difficult to find than the second edition. The cornerstone of any MAVO collection. Neither I nor any of my colleagues have ever seen the first with the slipcase (though the facsimile produced by the Kindai Bungakkan does have an identical rendering of the black design on white background, so they must have either borrowed or own a copy that they reproduced). Neither the Pompidou show nor the Uruwa Museum catalog illustrate the first edition, even without its jacket - they both show the second edition with the red on blue background slipcase. In quite good condition overall, unsophisticated with a bit of rubbing and loss to the fragile spine and soiling and starting to the slipcase. To call it simply rare seems inadequate.

Price on request.

 

 

 

 

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60.[MAVO] TOLLER, Ernst. TSUBAME NO SHO. Tokyo: Chôryûsha Shoten, 1925. Translated by Murayama Tomoyoshi. Illustrated by Okada Tatsuo. 8vo., printed decorated wrappers. Contains 15 full-page original linocuts by Okada, one of a very few works with his MAVO- style original prints. Referenced in virtually every work and bibliography on the subject of Taishô-era avant-garde art, this copy is browned and foxed internally with a soiled cover. Nonetheless a very scarce and desirable copy of this important work.

SOLD

 

 

 

 

 

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

$475.00

 

 

 

 

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

SOLD

 

 

 

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

$650.00

 

 

 

 

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

$450.00

 

 

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

$1,850.00

 

 

 

 

 

 

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66.ONCHI Kôshiro. HAKUBUTSUSHI Zuihitsu Shashin. Tokyo, Genkôsha, Shôwa 17 [1942], 1 of 1500cc, Cloth, printed in silver ink, 27.0 x 19.4 cm. Very unusual work by Onchi, combining his written thought on natural forms with reproductions of his photography (depicting plants, insects, animals). Interesting, scarce. here in near fine condition in the original dustwrapper, all in the original printed cardboard slipcase. [Urawa, p.51] Complete, thus.

$1,950.00

 

 

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67.ONCHI Koshiro. Onchi Koshiro Shibun-shû KISETSU-HYO. Tokyo: Aoi- Shobô. Showa 10 [1935]. This copy is #50 of only 50 deluxe copies from a total edition of 200. 3 full-page color illustrations by Onchi. Folio, 36 x 31 cm, printed on very heavy paper, bound in gilt-printed Japanese paper over boards. Besides the illustrations, Onchi wrote the poems in this collection and was responsible for the book's design. The text reproduces his calligraphy. The book is signed by Onchi and contains a photogravure portrait of him. Interestingly, it is rendered a unique copy by the fact that Onchi further presented the book to a "Saitô-shi" and wrote a poem dated January 1936 on the signature page. This is the deluxe and only complete edition of this work, being bound in hard covers and having all three illustrations Onchi designed for it. Since the printer never intended for these deluxe copies to be read, each of the first 50 copies of the 200 that comprise the fukan (supplementary) edition, which was printed on kyokushi (Japanese vellum) paper with only one of the Onchi's color prints and issued in a portfolio, originally accompanied the correspondingly numbered copy of the deluxe issue as a "reading copy" - though our copy has parted ways with its fukan companion. It is a tour de force of bookmanship, and the most elusive of Onchi's productions. Here in near perfect condition and with the Onchi poem brushed by him inside. [See Onchi, HON NO BIJUTSU, p 110].

$15,000.00

 

 
 
 
 

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68.[ONCHI KÔSHIRÔ - BINDING] HIRANO Imao, author. SEIKI NO KAGAKUSHATACHI. 12mo., bound in decorated boards with a matching dustwrapper, both designed by Onchi. This middle school introduction to the history of science through the centuries is written in a simple style on a biographical basis by Hirano (1900- 86), a noted pedagogue. In near fine condition overall with a bit of browning and dustwrapper chipping, a former owner has written his name on the back cover so carefully as to make it seem printed. Onchi design is perfect - colorful, near abstract.

$185.00

 

 

 

 

ONCHI, TANAKA & HAGIWARA

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69.ONCHI, Kôshirô & TANAKA Kyôkichi, artists and designers; HAGIWARA Sakutarô, poet. TSUKI NI HOERU. [HOWLING AT THE MOON]. Tôkyô, Kanjôshisha. Taishô 6 [1917]. Bound in paper-covered boards with a thick paper printed dustwrapper, 20.0 x 14.0 mm. The dustwrapper has a design by Tanaka and there are 11 internal plates, as well as three woodblock prints by Onchi. This poetry collection, self-published by Hagiwara (1886-1942) in 500 copies, is regarded as creating a revolution in Japanese poetry. The spirit inspiring the work, according to Hagiwara, was "psychic terror"and, as such, broke all the traditional bonds with traditional poetics. Nothing can be said that would over-emphasize the importance of Onchi and Tanaka to the development of printmaking and book design in an abstract and avant garde idiom in early 20th Century Japan. With their fellow student Fujimori Shizuo at the Tôkyô School of Fine Arts, they created the wonderful art magazine TSUKUHAE in 1914. It ceased production in 1915 when Tanaka died of tuberculosis. His work, along with that of Onchi were combined in this volume. Thus the combination of the two, along with the work of Hagiwara make the first edition of HOWLING AT THE MOON one of the most important treasures of the early avant garde in Japan.

 
The copy in hand suffers from some cracking along the hinges, edgewear and a few nicks. The dustwrapper is fragile and split along the edges and internally strengthened with tape. I have examined images from three copies in collections besides this one and they all seem to suffer from the same weaknesses. Simply a very fragile book, privately printed in small numbers and very difficult to find.
 

 

$16,000