WELCOME TO CATALOGUE 57A
JAPAN AND ASIA

 

 

 

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1.[INSECTS] TAKESHITA Kin'u, artist. KÔRINFÛ MUSHI KURABE 3 vols. Kyôto, Uchida Bijutsu, Shôwa 11 [1936]. Each volume, 48.9 x 33.8 cm. From the library of the Fujii Shôten. String-bound, Japanese- style, fukuro-toji. Each volume has a table of contents page and 12 large color woodblock prints of insects in nature, tipped onto the folded page. A lovely production in an explicitly neo-Rimpa style (Kôrinfû means "Kôrin-style"). The printer/publisher Uchida was responsible for several wonderful books in color woodblock in the 1930s. Many consider this work their masterpiece and the beautiful prints have been broken up and sold separately through the years so a complete set like this has become very scarce. Also, even the individual prints one might find are usually foxed and discolored but in this example the prints themselves are in good condition. Though there is occasional foxing to the marginal backing paper, it does not extend to the prints themselves. In the original clasped chitsu case which has been reinforced by the original collector with leather.

$7,500.00

 

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2.[CANDY] Terada Kazuo. KOKKA ZUKAN. Nishinomiya, Shôwa 12 [1937]. Large oblong brocade covered album of color woodblock prints of traditional Japanese sweets. 23.6 x 32.5 cm. 36 beautifully printed color woodblock prints in all. Very deluxe production. Some staining, but not effecting the images. Good condition overall in the original publisher's tied wraparound case.

SOLD

 

 

 

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3.[DESIGN] HAPPÔDÔ, publisher/printer. KOKUGA ÔGI. Kyôto, Happôdô, N.D. [other sources indicate a date of 1938] Very large oblong brocade porfolio, 36.5 x 59.0 cm. Contains an undated Happôdô colophon and 50 design prints (49 in color and one as a textual calligraphic introduction to the work) A source indicates the designs were done by Yamaoka Chinpei. The prints are extraordinarily lavish, with sprinkled metal flakes, overprinting, metallic inks, etc. A wonderful tribute to the Neo-Rimpa and Deco sensibilities of the age. The case has been restored, the prints are quite clean.

$3,500.00

 

 

 

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4. [DESIGN] Kamisaka SEKKA. UTA-E Kyoto & Tokyo: Unsôdô, Shôwa 9 [1934]. 1 volume, 31 x 22 cm, cloth, ribbon bound covers, paper label. 25 color full page images after designs by Sekka. As Sekka's last work, it crowns his remarkable career with a lovely evocation of Kôetsu's Saga-bon. (For more on this important work, see Hillier's description on p.976 of the second volume of his ART OF THE JAPANESE BOOK.) The condition is lovely with almost none of the offsetting from the prints to the poems that is usual in this book. The printing and colors are very good, the colors lovely. It is a very good copy overall. Housed in a clasped chitsu case. One volume (complete):

$3250.00 

 

 

 

 

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5. [EHON - ALBUM] Yôshû CHIKANOBU. BIJUTSU AZUMA NISHIKIE GAJO Kan. Tokyo: Hasegawa Jubi, Meiji 30 [1897]. Orihon folding album in brocade covers. Twelve oblong ôban-size prints of bijin of the 12 months of the year (24 x 36 cm) are folded into the covers (24 x 18 cm). Chikanobu [1838-1912] was of samurai descent and fought on the losing shogunate side in the disturbances at the end of the Tokugawa period. He became an artist in early Meiji and always maintained an interest in military matters, depicting heroes and battles of the Saigô Rebellion, the Sino Japanese War, etc. Here his skills are more peacefully expressed in a calendar round of lovelies, with the elegiac feeling common to bijinga during Meiji. A slight bit of edgewear to the front cover corners, else very good condition, good impressions and colors. Complete.

 SOLD

 

 

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

  $4,500.00

 

 

 

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7.[EHON - Conchology] HIRASE Yoichirô. KAI SENSHÛ. Kyoto: Unsôdô, Taishô 3-11 [1914-22]. 24.8 X 17.8 cm. 4 vols., complete. Printed paper title labels, silk over boards. Orihon folding books of color woodcuts of shells. Each volume contains 20 double page prints. Though the English title would be "One Thousand Shells", there are only 400 illustrated in the set, supporting the theory that the work was originally planned for 10 volumes and never finished. The first three volumes are scarce (our volume one is dated 1914, volume two and three are dated 1915) but volume four, here the issue printed in 1922, is very hard to find. Thus a complete set, particularly in the clean condition this one is in, is, quite simply, rare. The preface is in Japanese, and the plate lists in bilingual Japanese and Latin. Hirase had a museum of shells and originally commissioned this lovely work from the master printers at Unsôdô to commemorate its first anniversary. Very good, the covers are a bit worn, a bit of offsetting here and there. The printing was so exquisite and the expense of production so large, as to make it one of the jewels of 20th century woodblock production.

 $7,850.00

 

  

 

 

 

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9. [EHON - MILITARY] Hayashi Izumi no Jô. ÔU GUNKI. [Kyôto] Imadegawa, Kanbun 2 [1662]. 4 volumes in 2. 27.6 x 18.1 cm. String-bound, Japanese-style, fukuro-toji. Original title labels. Geometrically patterned green paper covers. Quite a nice version of this interesting "gunki" military tale of the late Heian period in the late 11th century, recording bloody battles in the far north east (Mutsu). With 18 full page b+w illustrations by a very capable unknown artist. The early Edo period of the 17th century, following the centuries of civil war which proceeded it, was a time of peace, but one obsessed with war and tales of courage. Good condition and printing overall. In a clasped chitsu case.

$2,850.00

 
 

 

 

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10. [EHON - SHUNGA] Anonymous. SHUNSHOKU KOI NO SHIKIRI. N.P. [Tokyo?] N.D. [late Meiji?] Orihon bound in silk brocade with printed paper title label. With ten double-page color woodcuts of couples in the act, as well as a double page illustration of various implements of pleasure by way of prologue and two double pages of elegantly calligraphed afterword. As is usual with the genre, there is no colophon or attribution of the art, but the style, dialogue and the faces and poses are very reminiscent of the Utamaro school. The couples are elegant, well-posed and surrounded by the printed text of their intercourse, verbal and otherwise. A few repaired folds, and one print has internal repairs, nevertheless very good, in very good impression and colors.

$2,400.00

 

 

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

$2,850.00

 
 
 
 
 

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12.[EHON] Fujiwara Masaomi, author; Kita Busei, artist. KASEN KASHO. n.p., preface dated Bunka 7 [1810]. 19.7 X 29.3 cm., string-bound Japanese-style, fukuro toji, original covers with original printed title label. See Ryerson 396 for a defective copy. Our copy is complete with 3 preliminary sheets and 20 sheets of color woodblock illustrations of the 36 poets. Interesting colors, well-printed. In good condition with some soiling but very pleasing effect overall.

$4,250.00

 

 

 

 
 
 

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13.[EHON] Hishikawa MORONOBU, artist. Hishikawa SHOSHOKU EHON KAGAMI. Jôkyô 2 [1685]. 2 vols. Ohon, large b+w illustrated book of occupations, done by Moronobu at the height of his powers and one of his best known creations. The copy at hand is bound in two volumes within the original covers (some are found in three volumes, as well) It would appear that, at some point,in rebinding from three volumes to two, one illustration, mounted on the inner back cover of a volume was "lost in translation" so that this copy, despite its very good condition (there are a very few attempts at crude coloring), original covers and title labels and printing which ranges from fair to very good, indeed, is rendered thus incomplete and is priced accordingly. Sometimes known by the title WAKOKU SHOSHOKU E-ZUKUSHI. For comparison, see the copy at the Metropolitan in New York, illustrated at: http://www.metmuseum.org/collection/the-collection- online/search/78688

$7,200.00

 

 

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14.[EHON] I-Fukyu & Ike no Taiga. I-FUKYU IKE NO TAIGA GAFU. Kyôto & Edo: Maruya Gempachiro & Suharaya Môhei. Kyôwa 3 [1803]. 27.2 x 18.2 cm. Blue paper covers, string-bound Japanese-style, fukuro- toji. Original printed paper title labels. Follows the copy at Mitchell 307, save that the ordering of the prefatory and final materials seems to follow the order of the copy found at Odin 143. Worn covers and abraded title labels, some repaired, mostly marginal, worming inside. Still a more than serviceable copy of this lovely book. The famous Nanga artist Ike no Taiga has a volume to himself, accompanying the volume dedicated to the Chinese artist I-Fukyû. To my eye, Taiga's wonderful whimsy and pictorial variety carry the day. Printed in black and white throughout. The book deserves a wider audience than it has received to date.

$850.00

 

  

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15.[EHON] Itô Chûta. ASHURA CHO. Tokyo: Kokusui Shuppansha, (Arata Eisuke), Taishô 10 [1921]. 5 volumes complete. Bound in printed cloth over [25.6 x 21.4 cm] boards with thongs. In the publisher's clasped cases. Entitled (roughly) "Demon Sketchbook". The Asuras of the title are the warrior gods of Indian religion, condemned to constant strife. The book is a deeply bitter and ironic look at the politics and social scene of the World War I era, not only in Japan itself, but around the world. As such it is an amazing slice of life during and after the world war from the unique perspective of a Japanese humanist given to Swiftian excess. The author (and illustrator), Itô Chûta, was an architect and gifted caricaturist. The printer/publisher was a bit of an ironist himself, as the closing note mentions that his "National Purity Publications" ["Kokusui Shuppansha"] did not quite embody the usual "National Purity" which was being bruited about. Obviously this work is a product of Taishô liberalism. Ten or so years earlier or later, it would have never reached the light of day in a less tolerant political atmosphere. There are 500 pages of plates, each is one-half color woodcut caricature and one-half wry commentary in a combination of letterpress and woodcut calligraphy. Well-printed and interesting, the full set of 500 plates in five volumes - with the original clasped cases - is quite a find, as one only occasionally finds even odd volumes. The cases are a bit chipped with weak hinges, the books themselves are quite clean, in very good overall condition.

SOLD

 

 

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16.[EHON] Kawamura BUMPO, artist. KIMPAEN GAFU. Kyoto: Hishiya Magobei, Bunka [zodiacal date corresponding to 1820]. 25 x 17.4 cm. Green covers stamped with octagonal patterning (replaced?), without the title slip. The bibliographical details of this copy correspond to the copy at Mitchell p. 362-3, save for the color of the covers. Sealed as the Mitchell copy throughout. There is occasional mild worming, otherwise the condition is good. The color and printing quality is excellent. A book which suffers as a later printing, this copy is unusually early overall - a nice printing.

$1,600.00

 

 

 

 

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17.[EHON] KAWAMURA Bumpô. KANGA SHINAN NIHEN. Kyoto: Hishiya Magobei, et al., Bunka 8 [1811]. String-bound Japanese style in yellow covers with paper title labels. 26 x 17.5 cm. This "second series" of the KANGA SHINAN [Manual of Chinese-style Painting] was the only one illustrated by Bumpô and was published over thirty years after the first series; so it obviously stands on its own as an independent work. The simple designs are printed in sumi and light colors in very good impression. The condition of the three volumes is very good with only minor internal soiling and some exterior wear and soiling. A very nice example of an early printing. (Mitchell p. 335, Ryerson 385, Brown 104). Complete, as is.

$1,500.00

 

 

 

 
 
 

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18.HON] Kawamura Kihô, artist. KIHÔ GAFU. Kyoto: Yoshida Shimbei, Bunsei 10, [1827]. 1 vol. (complete). 17.5 x 25.9 cm. 5 page prelims, 30 double page color woodblock prints, 1p final, 8pp ads, colophon. The covers are greyish-blue with a swirling wave pattern in mica. The title label is worn. The covers are a bit soiled and stained and the contents are very lightly thumbed with a bit of worming. Good to very good impressions and colors. Kihô was the adopted son of Bumpô and his work rivals Bumpô's in freshness and simplicity. This copy appears to resemble Mitchell's example "A" and is doubtless an early impression. (Ref: Mitchell pp.360,1; Brown p.105; Ryerson p.388)

$1,250.00

 

 

  

 

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19.[EHON] Kawanabe GYOSAI, artist. Tsuuzoku ISOPPU MONOGATARI. Tokyo & Numazu, Meiji 5 & 6 [1872,3]. 6 volumes. Hanshibon, 22.5 x 15 cm. Blindstamped patterned yellow paper covers, string-bound Japanese- style, fukuro-toji. The interesting and now scarce translation of Aesop's Fables into Japanese by Watabe Godô from the English version of Thomas James. Illustrated throughout in b+w (with some use of grey scale and colored blocks, as well) woodcuts, mostly by the famed artist Kawanabe Gyôsai. The illustrations are largely based on the English original, though a few are original to the Japanese edition. Fujisawa Bainan and an artist named Kôson (Oshima Kôson? Sakaki Kôson?). For more on this work, see Scott Johnson's article, "The Illustrations for a Victorian Aesop and a Meiji Isoppu", 1983, Kansai University. Good impressions, very good condition. Early copies with the added blocks are very unusual. Complete.

SOLD

 

 

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20.[EHON] Kitagawa UTAMARO, artist. EHON SURUGAMAI 3 vols. [Ôsaka] Izumiya Genshichi, Temmei 9 [1797] 3 volumes, hanshihon. With the 1790 preface and 1797 ad 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. An important kyokabon from Utamaro's early years, capturing elegiac views of the bustling metropolis of Edo and its tranquil environs. A good printing in b+w with a delicate line. With the somewhat worn original patterned covers and printed paper title labels, very clean, in a clasped chitsu case.

$7,200.00

 

 

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21.[EHON] Kitao SHIGEMASA. EHON KAGAMI GUSA 2 vols. 21.5 x 15.4 cm. Original flower-printed covers with original printed title labels. N.D., printed by Nishimura Genroku. A book with the same title (but written with different kanji) is cited in KSSM as published in Meiwa 5 [1768] but from a different publisher and in three volumes. The Nishimura Genroku catalogue at the end of our volume 2 lists the current book EHON KAGAMI GUSA (with the proper kanji) as complete in 2 volumes. One can assume that this work is actually a different work from the one which appears in the KSSM with the same (pronunciation of the) title by Shigemasa, as another work advertised by Genroku in the book catalogue at the end of our volumes as "to be printed soon" actually appeared in the late 1780s. So, I would date this volume as appearing in the late 1780s, when Shigemasa was in his 40s, rather than the 1768 work from the KSSM. A lovely book on a small scale populated with historical and contemporary figures with an innocence and a "look" reminiscent of Sukenobu. Slight internal soiling, good sumi-e impressions throughout. Internally complete collation. Obviously very scarce and interesting, especially as this is the Bing collection copy.

$2,250.00

 

 

  

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22.[EHON] Mikuma Katen, artist. KINSEI KIJIN-DEN, 5 vols. Kyoto, Edo & Osaka. n.d. [1860's?]: String-bound Japanese-style fukuro toji, in textured blue-grey covers with printed paper title labels. 40 single page and 2 double page b+w woodcuts, largely depicting the subject matter of the title: TALES OF ECCENTRICS FROM RECENT YEARS. Originally printed in 1790, this is a deservedly famous and oft-reprinted work in Japan. The KIJIN-DEN catalogues the eccentricities and eccentrics of the late 18th Century - a time of florescence of the "bunjin" literati ideal in Japan. The bunjin created an esthetically pure environment in the midst of the bustle (and corruption) of everyday life. The initial exemplars were those scholars and artists who withdrew from public life in China after the fall of the Ming Dynasty to the alien Manchus in the mid-17th Century. The KIJIN-DEN represents one of the efforts by the Japanese to domesticate a Chinese cultural import and find native representatives of the literati ideal. The KIJIN-DEN is interesting for its exploration of the art world in Japan - for example, there is a domestic scene of the painters Ikeno Taiga and wife Gyokuran, among others. Indeed, there are many women depicted in the KIJIN-DEN. (See JAPANESE WOMEN ARTISTS 1600-1900) Also see Ryerson 416, Mitchell 364, Hillier/Ravicz 22. The condition is very good over all, the printings are late (this edition being some 60-70 years after the original printing by Hayashi Bunkindô). There was a second series done some few years later, but this first series is complete as issued in 5 volumes.

$975.00

 

 

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23.[EHON] Morikawa SOBUN, artist. MIYAKO MEISHO NIJUGO-KEI. 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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24.[EHON] Nagayama KOIN, artist. Tani SEIKO, printer. NAMPO-JO. N.P., N.D., [Osaka, Bunsei 7 {1824}]. 25.4 x 18 cm. This copy, string- bound, Japanese-style, fukuro-toji, has the original printed title label. Almost certainly a later impression of a book which first appeared under the title SEIKO JO, it is a memorial volume in honor of Shokusanjin [Ota Nampô] who died a bit before this book was created. Seikô, a close friend, assembled a volume of Ota's verse and calligraphy, had Kôin create the lovely Shijô style illustrations and cut and printed the book himself. One of the more elusive of the ehon of its time and a lovely one. This copy is missing the first and final sheets, thus the preface and colophon. It is only a noble fragment. The covers are worn and spotted, the impressions and colors good. See Keyes catalog of the Ehon collection at the NYPL, #49. Mitchell 465-6.

$1,250.00

 

 

 
 
 

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25.[EHON] Nakabayashi CHIKUTÔ. CHIKUTÔ GAKÔ, 2 vols. Kyôto & Nagoya, Bunka 9 [1812]. 18.2 x 26.2 cm., string-bound, Japanese-style fukuro-toji. Resembles the copy at Mitchell p. 237, save that it has a green title page on the front inner pastedown and an 11 page Hishiya Magobei advertisement for books, dated the first year of Bunsei [1818]. Good b+w and sumi-shaded bunjin style images by Chikutô [1776-1853]. Good condition in clasped chitsu case. By no means a common book.

$1,600.00

 

 

 
 
 

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26.[EHON] Niwa KAGEN, artist. FUKUZENSAI GAFU 5 volumes. Tall, slender orihon folding volumes in original brownish yellow covers, with original printed title labels. 28.0 x 15.2 cm. There are a total of 40 delicately printed color double-page woodblock prints. Done with subtlety and much use of bokashi, though a few of the prints are a bit out of register. This copy collates exactly the same as Mitchell's Example "B" at pp. 255-6.

The FUKUZENSAI GAFU is an interesting book, as, according to the book's preface, it was ostensibly created by Kagen in the early 1780s and here the original blocks, with color blocks added, were used in 1811 to print a full edition. I can see no reference save that of the preface of the book itself which indicates that the original edition was ever printed in any form. This is a work which, when seen, is usually quite tired. It appeared on various types of paper and the slightly heavier washi used here has stood up quite well to the years, without much browning of the lovely colors. The harder tôshi paper sometimes used is often quite browned and fragile, the folds splitting. So, this is a quite unusually whole and lovely version of the book. Complete.

$2850.00

 

  

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27.[EHON] Onishi Chinnen, artist. EHON AZUMA NO TEBURI. Edo: Kobayashi Shimbei & Osakaya Gembei, Bunsei 12 [1829]. 27.8 x 18.6 cm, string bound Japanese-style, fukuro toji, Blue paper covers with blindprinted "creped" patterning. The title slip and title page are present. This copy collates identically with the copy in Mitchell, p.214 save that the 4 page final note is missing. See Hillier, volume 2, pp. 768-70, in which he describes Chinnen's SONAN GAFU & this volume, the AZUMA NO TEBURI, as being "among the best known and most admired of all Japanese books".

The 25 double page color prints of genre scenes in Edo done in Chinnen's inimitable Shijô style are very well printed. The colors are bright and perhaps a bit later than the earliest versions. This is a very handsome book and an important cornerstone item for any ehon collection - Chinnen only produced two major works of book illustration, this and the iconic SONAN GAFU. Complete.

$2850.00

 

 

 

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28.[EHON] Ooka Shumboku, artist. MINCHO SHIKEN. n.p., n.d., 3 vols., 27.6 x 17.7 cm., string-bound Japanese-style fukuro toji. Cream paper covers with printed paper title labels. A reprint of the rare MINCHO SEIDO GAEN of 1746. This edition does not have its colophon, but is almost certainly later than the Hishiya Magobei edition of 1813, though it does have the final "authentification" seal of the Bunka edition [see Mitchell example "B" at p.416] According to Hillier [Vol.1 pp.206-7], the original outline blocks were employed with new color blocks. Though Hillier and Mitchell point out the diminished printing quality of later editions compared to the original, it should be noted that the original edition, one of the first color printed Japanese books, is a work of great rarity and beauty. The true Bunka edition that we have seen, usually dated to 1813 is still a lovely book with the use of bokashi, etc. The edition at hand here is further diminished, but, that said, it is still a lovely book and a very scarce one. See Brown, pp.70-1. Also, it should be noted that the original edition only consisted of two volumes (the planned third volume did not appear then.) The Bunka edition and later ones, like this, add that series of lovely images in a third volume, completing the original conception of the artist. The printing and colors are fairly good. Overall, good to very good condition, in a worn blue cloth chitsu clasped case [clasps missing] with the remains of a printed title slip matching those on the books themselves. All enclosed in a wooden box. Complete.

$3,500.00

 

 

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29.[[EHON] Ota Saburô, artist. ASA GIRI Tokyo, Meiji 45 [1912]. 2 volumes, string-bound Japanese style, 19.1 x 13 cm. Each volume contains 35 color prints with a facing page of text. The prints appear to be a hybrid of lithography and color woodcut. [See Hillier's discussion of the book in his ART OF THE JAPANESE PRINTED BOOK]. These small volumes constitute a truly remarkable work and is an important example of the Japanese picture book genre produced in the twentieth century.

Our copy is in very good condition overall, with almost none of the foxed pages this book usually displays. It is enclosed in the original publisher's box with a printed title label and is one of the nicer copies we have seen. Unusual in such nice condition. Complete:

$1,500.00

 

 

 
 
 

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30.[EHON] Ôishi MATORA, artist. HYAKUNIN ISSHÛ HITOYO GATARI 9vols. Naniwa [Osaka]: Tsurugaya Kyûbei, Tempô 4 [1833] The text is by Ozaki Masayoshi. Figured blue and white covers, string-bound, Japanese-style, fukuro-toji. Printed paper title labels. Mitchell 305-6. Very good condition, fair to good impressions, throughout. Complete.

$850.00

 

 

 

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31.[EHON] Ônishi CHINNEN, artist.  SÔNAN GAFU. Edo, Tempô 5 [1834]. 25.7 x 18.6 cm   Yellow covers with karazuri ripple pattern. Printed paper title label. Covers differ, but the contents and colophon are otherwise identical to the Mitchell copy at p. 500. It should be noted that the colors of the prints are quite a bit brighter than those of the edition with yellow covers and blue medallions and it may be assumed to be a few years later. Slight soiling, else very good condition and impression.  A cornerstone item for any Shijô collection. Complete.

$3,250.00

 

 

 

 

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32.[EHON] SÔ SHISEKI, artist. SÔ SHISEKI GAFU. 3 vols., Edo, Meiwa 2 [1765]. 27.2 x 17.8 cm. Plain covers (probably not original - no title slips). String-bound Japanese-style fukuro-toji. The three volumes are complete and collate identically to the copies at Mitchell 502, Kerlen 1668 & Ryerson/Toda 414. This classic and important cornerstone of Japanese book illustration (See Mitchell's lengthy descriptions.) is one of the first books to be published in Japan with color block printing - a few of the designs are rendered in one, two and three colors. Because of the haphazard nature of the effects created by the "one- block" method employed - each copy's color is strikingly different from any other. This copy is from the Burton collection and compares favorably as to paper and impressions with the copies in the British Museum. Complete copies of this important work are scarce in the marketplace. Some worming throughout. Sold with all faults and priced accordingly.

$1,850.00

 

  

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33.[EHON] Takashima HOKKAI, artist. OSHU SANSUI KISHO. Tokyo: Tôyôdô, Meiji 26 [1893]. 2 vols., 24.5 x 18 cm, orihon album, in silk over stiff paper covers, printed paper title label. Hokkai (1850-1931) was an important landscape artist (see Roberts, p.170). Neither Hokkai nor any of his works appear in any of the standard ehon references in English, which is odd considering the quality of this book and his eminence in Japan. The OSHU consists of a series of 40 double page color landscape woodcuts of France, Italy and Scotland. The emphasis is upon the mountains and hillsides, in short the nature of Europe, not its cities. A remarkable and very unusual work. Overall in fine condition with original fukuro dustwrapper and very good or better impressions. With Hokkai's red fish-shaped seals.

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34.[EHON] Takeuchi Seihô, artist. SEIHÔ-GA HAKU HITSU JÛNISHI JO. n.p., n.p., n.d. [Kyoto & Tokyo: Yamada Unsôdô, c. 1910-1912] 37.4 x 25.5 cm Orihon folding album of 12 full page color woodblocks. In stiff paper over board covers with a printed paper title label. A clean copy in which the tiger and ox prints have paper repairs. A few worm holes. Good impressions and colors. This set of double oban size prints (with center fold) of the 12 animals of the Zodiac represents one of the scarcest and most desirable of all 20th century ehon. Takeuchi Seihô was a genius and his collaboration with Unsôdô a triumph. Mitchell did not see a copy but relied on the Ryerson description; Hillier did not see a copy. [Mitchell, p.464; Ryerson, p.428; Brown p.202]

$1,850.00

 

 

 
 

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35.[EHON] Tani BUNCHÔ, artist. NIHON MEISAN ZUE 3 vols. Kyôto, Osaka, Edo, [n.d, c. 1807]. 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 famed for its accurate representation of the mountains in question. According to Mitchell, this is the second printing, done in Bunka 4 [1807], identical to the copy from his own collection which he catalogued at p. 435. Printed with great skill and subtlety, and in very good impression, it retains the freshness and vigor of line for which the book is known. The covers are a bit worn, and there are 10 pp. with slight worming near the end of volume 3 affecting both illustrations and text, but its condition is very good overall.

$2,500.00

 

 

 
 
 

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36.[EHON] Totoya Hokkei, artist. HOKURI JÛNIJI. No Colophon, Bunka era (1804-1818), 26.4 cm X 17.8 cm, original blue covers, string-bound Japanese- style fukuro toji, original printed paper title label. Covers worn, some internal worming. Overall condition good, printing good or better.

A very important book, very early for Hokkei. A landmark in the publication of appreciations of the new Yoshiwara district in Edo - here presented in Ishikawa Masamochi's elegant prose and 12 sumi-e woodblock Hokkei illustrations, delineating the 12 hours of the day in the district. Complete.

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37.[EHON] Tsuji HOZAN, artist. BITCHU MEISHO ZUE [KO] 4 vols.. N.P. Gyokushô-en, Bunsei 5 [1822]. 26.4 x 18.5 cm. String-bound Japanese style, fukuro-toji. Though the main copy catalogued in Mitchell is in 2 vols, hand cover-titled "KO", he acknowledges 4 volume copies as well, cover-titled "ZUE", All internal titling of this work is "KO" & "Jô-Ge", as well, leading one to infer that the original form of this work was the 2 volume binding. With blue grey plain paper covers, 18 double page illustrations, lightly colored (more lightly and more toward the blue range than the 2 volume version we have seen) In very good condition, colors and impressions. Has an advertisement for Suharaya Mohei and many other Edo, Kyoto, Owari and Osaka booksellers laid onto the inside back cover. 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 Hôzan was not Suiseki, however, as his identity can be traced independently through contemporary sources. Complete, in a 20th century chitsu clasped case. Very scarce work. [SJ]

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

$2,400.00

 

  

 
 

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39.[EHON] Yamaguchi SOKEN, artist. SOKEN SANSUI GAFU. Heian [Kyoto]: Bunka 15 [1818]. 2 volumes, 26.1 x 18.7 cm, buff paper covers, original printed title slips, bound Japanese-style, fukuro toji. The covers and slips are worn. See Mitchell, p.499. [This copy is identical in collation, save that Soken's seal is missing from the colophon page and there is no publishing information on the inside back cover.] Thus almost certainly a later printing. See also Hillier, volume one, pp.537-9. A well-printed later copy, good condition. A handsome and important book of landscapes printed with great elegance. Soken was one of Maruyama Ôkyô's greatest disciples. 2 vols., complete.

$950.00

 

 

  

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40.[EHON] YAMASHIRO MEISHO FUGETSU SHU. Kyoto, Torii Matashichi, Meiji 18 [1885]. 2 vols., complete, 26 X 17 cm. Yellow blindstamped pattern covers, printed paper title labels, string-bound Japanese- style, fukuro toji. Based on a reworking of the blocks from the 1861 work, TAMA HIROI, here with different preliminaries and finals, different haiku poems and reordered images with additions. Hence, not a reprint but a recreation of that late Edo era masterpiece, brought forward into Meiji. Very good condition, impressions, color. Complete. See Mitchell 551-2.

$1,600.00

 

 

 

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41.[FUKURO, ETC.] VARIOUS PUBLISHERS. FUKURO, for 122 EHON, 12 SUGEROKU, 4 MAPS mounted or enclosed in an album. The album is approximately 37 x 25 cm. Hand-titled, with an internal note from 1966 by a Mr. Ishii Kyûjirô that the collection of the fukuro had taken over 30 years. They are mounted, in most cases, several to a page. B+W, color, large, small and in-between. Some in perfect condition, others less so. The fukuro are largely of the late 19th century, but some go back to the Bunka era in the early 19th century. Fascinating and extremely unusual. I have never seen nor heard of a fukuro collection before.... matchbox labels, yes, ofuda yes, commercial labels, but not fukuro. A wonderful start on a working research collection of an ignored genre.

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42.[GREAT EARTHQUAKE] Nakazawa Hiromitsu, Niwa Reisuke, et al. KANTÔ DAI SHINSAI GACHÔ. Ôsaka, Kanao Bun'endô, Taishô 12 [1923]. 37.8 x 27.8 cm. Folio, stab bound with metal brads into a cloth spine - decorative printed paper over board covers. Kanao Bun'endô was perhaps the most creative fine printer of his day in Tôkyô and seemed to be on his way to success and eminence when the earthquake struck, destroying his printshop, stored backstock, woodblocks - virtually everything. He immediately decamped to Kansai, opening a temporary shop in Ôsaka and arranging for a Kyôto printer to produce this volume (in offset?) of sketches of the earthquake disaster, done by such Western-influenced artists as Nakazawa and Niwa in the immediate aftermath of the September catastrophe. An arresting series of views, some quite unforgettable. In very good condition overall. The internal images are all in greyscale, but the large color print affixed to the front cover is amazing.

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43.[GREAT EARTHQUAKE] Nihon Mangakai. DAI SHINSAI GASHÛ. Ôsaka, Kanao Bun'endô, Taishô 12 [1923]. 37.8 x 27.8 cm. Folio, stab bound with metal brads into a cloth spine - decorative printed paper over board covers. Kanao Bun'endô was perhaps the most creative fine printer of his day in Tôkyô and seemed to be on his way to success and eminence when the earthquake struck, destroying his printshop, stored backstock, woodblocks - virtually everything. He immediately decamped to Kansai, opening a temporary shop in Ôsaka and arranging for a Kyôto printer to produce this volume (in offset?) of sketches of the earthquake disaster, done by the Japan Manga Association in the immediate aftermath of the September catastrophe. This copy is a reprint done in December. The original printing was done in November. Bun'endô was not the only printer/publisher to produce views of the aftermath but the combination here of the comic medium of manga and the dire circumstance makes for an arresting series of views, some quite unforgettable. In very good condition overall. The internal images are all in greyscale, but the large color print affixed to the front cover is amazing.

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44. [HINAGATABON] TÔEISHI, designer. HINAGATA SANKÔCHÔ 3 vols. in one. [Kyôto] Kyôhô 17 [1732]. Bound as gappon, 3 vols in one, with original cover and the remains of the original title label. The covers are in rough shape but internally clean, a very good printing of this wonderful example of the hinagatabon kimono design genre from the early 18th century. String-bound Japanese style, fukuro-toji. 26 x 18 cm. There are 120 pages of designs, complete. A copy exists in the Museum of Fine Arts, Boston and it appears at Ueno(3), pp 54.

$2,750.00

 

 

 

 

 

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45.[JAPANESE PAPERMAKING] GOTO Seikichiro. KAMI NO TABI. Tokyo, Bijutsu Shuppansha. Shôwa 39 [1964]. Large oblong folio in washi covers, 33.5 x 44.3 cm. #279 of 300cc. Illustrated beautifully in katazome throughout. The illustrations as well as the text are by Gôtô, 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 with only a hint of foxing which sometimes mars this work, and a tiny amount of dust soiling

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46. (MACCAULEY, Clay). [CLAY MACCAULEY'S DAY BOOK FOR 1910.] 4to., quarter brown leather, green cloth-covered boards. An album assembled for MacCauley, circa 1910-1911, while he was working in Japan. It is comprised of over 200 separate short greetings, good wishes etc., that are either mounted on or written directly upon a single-date calendar page from the year 1910. Some contain a small drawing, photograph, or clipping that is meant to enhance the author's good wishes. Of particular interest are two separate entries by Percival Lowell, each has a small original photograph taken by him, one of Jupiter (taken in May 1909 and mounted on the calendar page for 6 January 1910) and the other of Mars (taken in July 1907 and mounted on the calendar page for 29 March 1910 ), and an the amusing bookplate of John Scott Bradstreet, the contemporary "Apostle of Good Taste" (1 November 1910). Also included are many church leaders and minor luminaries of the period.

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47.NAKAGAWA Kazumasa, artist. NAKAGAWA KAZUMASA GASHÛ. Tôkyô, Atorie-sha. Taishô 15 [1926]. Large decorated cloth 8vo, western- bound. Many color reproductions of Nakagawa's Western--style oil paintings, as well as textual cuts. Very good overall, in the original slipcase.

$185.00

 

 

 

 

 

 

 

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48. [PHOTOGRAPH ALBUM, JAPAN] Kusakabe KIMBEI 50 HAND-TINTED ALBUMEN PHOTOGRAPHS. Each about 20 x 26 cm image size. A large size album, probably assembled in the 1880s. In a beautiful lacquer cover with inlays that are still present and amazing. The photographs themselves are magnificent with Kimbei's fine attention to detail and expert artistic coloration (by the 1890s photo hand-coloration was done by assembly line, but here the skill is remarkable). There are many scenes of famous beauty spots in Japan, but often not the usual ones - with views around Yokohama, Fuji, etc. There are also some posed genre scenes and probably a few images from Beato negatives that Kimbei printed at the time. The ultimate deluxe touch is that every photograph is mounted on a hand-painted album leaf decorated with colored images of landscapes, people, city scenes, animals, birds, etc., etc. Such extra-illustrated examples from Kusakabe Kimbei are not unknown but they are very unusual. The external leather hinges are weak, but a wonderful presentation..

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49. [PRINT ALBUM] Takeuchi SEIHO. SHINA FUKO ZU-E. [Kyoto, Otsuka Minoru, Shôwa 11 - 1936; #106 of 150cc.]. Large portfolio 43 x 54 cm. Twelve prints of China [ea. image 32 X 43 cm]. Wonderfully well printed using a hybrid of collotype with woodcut printed color overlays. In a broken and restored cloth-over-boards portfolio with printed silk title label. The prints are tipped onto backing mats, with tissue guards. There is one print with slight foxing to the backing mat and the print itself, but otherwise, overall very good condition for this fragile and scarce item. Baldinger in his article about Seihô mentions this series as complete in 12 (of a total of 36 projected) images. Displayed in Europe, one of the original paintings ("Rain at Soochow") won Seihô membership in the Legion of Honor. Otsuka Kôgeisha was known for its remarkable technical virtuosity in capturing in prints the delicacy of watercolour paintings. Done about the same time that Unsôdô, using similar techniques, was publishing Seiho's IPPINSHU portfolio.

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50.[PRINTMAKER'S SET]. SHOSO HANGACHO JURENSHU 9 vols. Tokyo: Aoi Shobô, 1941-3. Each volume 26.8 x 21.2 cm in printed wrappers. A complete set, 8 volumes are numbered 174 and the Oda Kazuma volume numbered 21. 250 copies. How this set was ever created on such exquisite paper during wartime rationing is doubtless a story in itself. Takei Takeo, Onchi Kôshirô, Oda Kazuma, Henmi Takashi, Hiratsuka Un'ichi, Kawanishi Hide, Kawakami Sumio, Sekino Jun'ichirô and Maekawa Sempan each contributed 10 original prints to their own volume, making a total of 90 original prints in the set. Even individual volumes are hard to find; so a set in such lovely overall condition is unusual. All are enclosed in a custom cloth chitsu clasped case. A remarkable work in very good overall condition.

$12,500.00

 

 

 

 

 

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51. SERIZAWA Keisuke, artist. WAZOME EGATARI. n.p. [Self-published, Tôkyô?] Shôwa 11 [1936]. 23.4 x 16.0 cm String-bound, Japanese- style, fukuro-toji with the original stencil printed labels, and a titled paper fukuro dustwrapper. All enclosed in a clasped chitsu case. A wonderful little illustrated description of Japanese paper and fabric dyeing techniques - printed in stencil and hand-colored by Serizawa. Numbered 56 of only 115 copies, the colophon details the various elements of the "subsets" of the edition. Any books produced by Serizawa before the war are very scarce and much sought-after. This gentle work is one of the loveliest. About fine throughout.

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53.SMITH, MRS. W. H. THE CHILDREN'S JAPAN. Tokyo, Hasegawas, c.1911. 16 mm. x 20 mm. A lovely copy of this uncommon crepe paper book. Printed with the Negishi address.

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54.[UKIYO-E] KYOSAI, Kawanabe. Twenty-Three comic prints. n.p. [1866].Small, vividly colored prints by Kyosai, the last of the great Ukiyo-e masters. The subject of these comic prints is Japanese proverbs, and one or more of these is quoted, and illustrated, in each print. The series was planned to total one hundred, but it is not known how many were actually published. Condition generally good, a few of the prints slightly torn at margins. (Among the subjects of special interest to lovers of Japanese folklore: Otsu-e, kappa, Daruma dolls, blowfish, bathing customs, the Seven Gods of Luck, and several Buddhist subjects.)

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

$3,600.00

 

 

 

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56.[ATLAS] Bridgeman, E.C. translated by Mitsukuri Genpo. RENPO SHIRYAKU 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 occasional sign 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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57.[PREWAR DESIGN] Atorie-sha. ZUAN SHINGIHÔ KÔZA NOUVEAU COURS: METHODES DU DESSIN DECORATIF 8 vols. Tôkyô, Atorie-sha, Shôwa 7 [1932]. 8 volumes, 8vo., complete, bound western-style in wrappers. An interesting synopsis in Japanese of world-wide trends in commercial art in the early 1930s. Very good or better condition, many b+w illustrations. In the original publisher's slipcases. The Atorie-sha was one of the most important publishers of art criticism, etc. before the war in Japan.

$650.00

 

 

 

REFERENCE

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

$400.00

 

59.[Kamisaka SEKKA]. Ikeda & Wood, editors. KAMISAKA SEKKA: RIMPA MASTER - PIONEER OF MODERN DESIGN, Kyoto, Birmingham, Alabama & Tokyo, 2003. Folio, wrappers. Profusely illustrated, bilingual catalogue of the finest exhibit ever assembled of this artist's work. Sekka needs no introduction, he may well be the most important traditional artist of the 20th century in Japan. His contributions to painting, illustrated books, prints and design are legion. This important and useful catalogue has become virtually unobtainable. Very fine.

$80.00

 

 

60.[KEYES, Roger S. EHON: THE ARTIST AND THE BOOK IN JAPAN. Seattle, WA: New York Public Library/University of Washington Press, 2007. Second printing. 320 pp. 4to., red cloth stamped in silver, in a color pictorial dust jacket. Book and jacket fine, as new. Companion to the New York Public Library exhibition, 2006-2007.

$50.00