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1. [AERONAUTICS] Kôkû Jidai-sha. KÔKÛ JIDAI. 26 X 18.5 CM., Tôkyô, Shôwa 5 - 13 [1930-8]. 77 issues. A long run of this important magazine, The AERIAL AGE was the first monthly dedicated to flight in Japan, its first number appeared in May of 1930. We have numbers 7 & 8 of the 8 numbers from the first volume; all but number 9 of the second volume of 12 issues; all but number 2 and number 10 of the third year; all of volumes 4, 5 & 6; all but issues 1, 7 and 11 of volume 7; all but issues 2, 9 & 10 of volume 8; and the first issue of volume 9, January of 1938. The magazine itself seems to have continued until the end of 1942. However, there only appear to be 7 institutions in Japan that have any issues of the magazine at all (and only Shizuoka University appears to have a longer run, though still not complete) and there appear to be a few scattered single copies outside of Japan. The text of the magazine appears to be quite detailed and informative on the profound revolution aeronautics was going through during the 30s. There are interesting sections on gliders, on commercial aviation and hobby aviation, as well as, of course, the growth in the importance of the airplane to modern warfare, especially naval warfare. The projection of force via aircraft carrier among the world's navies is discussed in depth. The copies are quite usable being complete, though there are chipped and folding covers and pages, occasional weak bindings, etc. Interesting not least for its wonderful deco covers. As above, 77 issues.




2. THE ASIA SOCIETY. ARCHIVES OF ASIAN ART XLI/1988. (New York): The Asia Society, 1988. B&w illus. 110 pp. 4to., paper wrappers. Fine.


3. THE ASIA SOCIETY. ARCHIVES OF ASIAN ART XLI/1988. (New York): The Asia Society, 1983. B&w illus. 108 pp. 4to., paper wrappers. Fine.


4. THE ASIA SOCIETY. ARCHIVES OF ASIAN ART XLII/1989. (New York): The Asia Society, 1989. B&w illus. 104 pp. 4to., paper wrappers. Fine.


5. ASIA SOCIETY. ARCHIVES OF ASIAN ART XXXIV/1981. (New York): The Asia Society, 1988. B&w illus. 111 pp. 4to., paper wrappers. Fine.


6. THE ASIA SOCIETY. ARCHIVES OF ASIAN ART XXXV/1982. (New York): The Asia Society, 1988. B&w illus. 103 pp. 4to., paper wrappers. Fine.


7. [AVANT GARDE]. KINDAI BIJUTSU SHICHÔ KÔZA L'IDEE ET L'ESPRIT DE L'ART MODERNE. Tokyo: Atelier-sha, Shôwa 12, 13 [1937, 38]. Six volumes in printed publisher's slipcases. 22.5 x 16.3 cm. Cloth-bound western-style. A fascinating series of volumes. The critics Sagara Tokuzô and Araki Sueo wrote REALISME and FAUVISME, respectively. The artists Ihara Usaburo, Fukuzawa Ichiro, Kanbara Tai & Hasegawa Saburô wrote CUBISME; SURREALISME; FUTURISME, EXPRESSIONISME, DADAISME; and ABSTRACT ART. The product of a time when Japan justly felt itself to be firmly in the vanguard of world art. The spines are a bit darkened and the slipcases rubbed and a bit soiled, but overall a very good copy of this very unusual and important set. Not merely painting and printmaking, but also the plastic arts, and a bit of architecture, etc. are addressed in these wide-ranging and well-illustrated volumes. Complete, as issued.





8. [CHIYOGAMI ALBUM]. 90 PAGES OF EARLY MEIJI COLOR WOODCUTS. 24.5 x 35.5 cm. The design prints, where dated, indicate Meiji 12 [1879]. A very interesting album of "New Designs", so self-described and colorfully printed on chiyogami. Designs from this period are very unusual and ephemeral and this album provides an instructive view of the run-up to the golden age of Japanese design to come. A bit worn inside and out, the printing and colors are those of the period, a bit rough and ready.







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





10. [CREPE PAPER BOOK] Jules Adam. JAPANESE STORY-TELLERS. T. HASEGAWA, 17 Kami Negishi, Tokyo, (2nd Printing Meiji 45, [1912]) Translated by Osman Edwards from the French. Medium format, 19.2 x 13.7 cm, tassel-bound creped paper paper book, illustrated in color woodblock throughout. Fascinating account of Japanese and foreign hanashika storytellers. One of the scarcer Hasegawa titles. The cover are a bit faded and soiled, else in very good condition with a spot on the front cover.





11. [Crepe Paper Book] THE RAT'S PLAINT. Tokyo: Published by T. Hasegawa, 10, Hiyoshi-chô, Meiji 24 [1891]. An oblong volume, 15.5 x 18.9 cm, bound with two ribbon ties. [32] pp., including covers. This color woodblock-printed fairy tale out of China, translated by Archibald Little, is one of the scarcer of the Hasegawa productions, particularly this, the first edition of this title, which is usually found as a second edition. Good impressions and colors. The covers are a bit spotted on the back and rubbed on the front with a bit of darkening internally, but still and all a nice copy of an unusual production.





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





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





14. [DESIGN] Furuya KÔRIN. KÔGEI NO BI. Kyoto, Unsôdô, Meiji 42 [1909]. 3 vols. Folding orihon albums, 32 X 22.5 cm, in paper over boards with integral printed title labels. Originally appearing in 1908, this early reprint set is still very scarce and quite delightful - the 75 large double page designs in woodblock, employing karazuri gauffrage, metallic inks, etc., represent a peak of the printing art as practiced by Unsôdô at the time. Kôrin, the designer, is usually considered an equal to Sekka and Tennen, this work and his remarkable SEIKA and SHASEI SÔKA MOYÔ are the only large format works by him we have seen. The designs are in an interesting format, often constrained to the shapes of pottery pieces, especially vases. The result is a remarkable demonstration of how two dimensional designs can be adapted to three dimensional shapes, here rendered, of course, in two dimensions once again. The printing is good or better, the condition throughout good to very good, with occasional slight browning. In a folding clasped chitsu case. 3 vols.





18. [DESIGN] Ishii HAKUTEI, editor. GENDAI MEIKA ZUAN-SHÛ. Tokyo, Oranda-shoten, Taishô 5 [1916]. 31.5 X 21.7 cm. Portfolio of design patterns printed in woodcut, offset, etc. Wonderful collection of work on 25 sheets. Designs by such important artists as Tsuda Seifû, Ishii Hakutei, Wada Eisaku, Yamamoto Kanae, Kosugi Misei and others. A four page preliminary essay and table of contents is laid in and there is a final colophon slip glued to the inside back cover of the portfolio. The tied printed portfolio covers have lost their cloth spine, else a very good and complete copy of this scarce and important work.





19. [DESIGN] ISOZAKI Kôsaburo. KINKAN'EN SHINISHÔ YÔHON NEW SAMPLES OF COLORED MATTING - "KIN KAN EN." Okayama, Meiji 37 [1904]. Cord bound Japanese style, title printed on front cover. 34.2 X 22.6 CM. 34 full-page color woodcuts of flat-weave matting designs. The matting is still made today in Okayama from the igusa plant. Very simple and delicate designs. A sample book for the Isozaki line.





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





21. [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 a bit better than average, with relatively little of the offsetting from the prints to the poems that is usual in this book. Slight foxing and slight edgewear. The printing is very good, the colors lovely. It is a very good copy overall. Housed in the original, professionally repaired, chitsu case with title label that shows general soiling all over and is lacking its clasps. One volume (complete):





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





23. [DESIGN] MURAKAMI Sadao & KAMEI Tôbei, designers. BANKAKYÔ [KALEIDOSCOPE] 1-3 Kyoto & Tokyo: Unsôdô, Shôwa 8 [1933]. 3 portfolios of design, in decorated tied covers with a woodblock-printed label. Each 37.8 x 28.6 cm. Each with ten woodblock-printed designs mounted on a sealed backing sheet with a printed tissue caption overleaf. Each portfolio also has a table of contents sheet. Volume one has designs themed "vegetables and fruits", volume two has the theme of transportation vehicles and volume three "creatures of the sea". Wonderful, fanciful designs exploring forms with all the verve these two members of the creative print movement were known for. It is not known how many portfolios may have been completed in the series. I did find reference to a similarly named pair of design portfolios from the same general period in the Unsôdô sales brochure published in the 30's, but they are sufficiently different from these portfolios to call into question whether they were meant for the same set. In any event, they are very scarce and very interesting and complete as the first 3 volumes of a series. With some wear and staining, but the prints themselves are very clean and very well-printed with metallic inks, overprinting and all the tricks of the trade Unsôdô was capable of.





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





25. [DESIGN] Shimomura Tamahiro, designer. Go-Sokui Taishôsai TAITEN ZUAN Taishô no Bu. Kyoto, Unsôdô, Taishô 2 [1913]. 18 x 25 cm. Folding album, orihon, in decorated stiff covers. Designs for the coronation of the Taishô Emperor. This volume was done under the supervision of the estimable Honda Ichijirô, late of the firm Unkindô, who had merged his company into Unsôdô a few years earlier. Probably the finest eye for design of his day. About good to very good condition.





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





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




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





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






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




32. [EHON - FACSIMILE] Kitao MASANOBU [SANTÔ KYÔDEN]. Yoshiwara Keisei SHIN BIJUTSU AWASE JIHITSU KAGAMI. Tokyo: Yoshikawa Kôbunkan, Taishô 5 [1916] Large orihon folding album [39.1 x 25.6 CM] reproducing in facsimile color woodcut this beautiful work originally issued by Tsutaya Juzaburo in 1784. Including one page of modern explanatory text as well as all the original text and images. 7 double ôban size images of young courtesans printed along with examples of their poetry and calligraphy. Originally designed for the discerning collector of beauty: feminine, artistic and literary. This modern edition has worn covers but it is very well printed and quite lovely inside.




33. [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.




34. [EHON - TEN BAMBOO HALL] SHIH-CHU-CHAI SHU HUA P'U. Beijing, 1991. , 4 vols. All in a clasped brocade chitsu case with [chipped] title label, 29.6 x 32.8 cm. This color woodblock facsimile edition is based on the 1879 Beijing edition in 16 volumes. Originally published in the early 17th century during the Ming Dynasty as one of the first Chinese books to be printed using color woodblock, the TEN BAMBOO HALL is one of the world's great classics of book illustration. It had enormous influence on the development of the visual arts in East Asia. From the Burton collection. Overall fine condition throughout.




35. [EHON FACSIMILE] Katsushika HOKUSAI. Ehon Sumidagawa RYÔGAN ICHIRAN. Tokyo: Yoshikawa Kôbunkan, Taishô 6 [1917]. 3 volumes string bound, fukuro-toji style in printed paper covers with paper labels. 30.4 x 21.2 cm. in supplied folding box. One of a series of large format facsimiles done by Yoshikawa Kôbunkan in color woodcut of some of the classics of ukiyo-e genre ehon. Edited by Kubota Beisan with a brief final note. A nice example of its kind in very good condition. Complete, as issued:




36. [EHON] Hatta KOSHÛ, artist. KOSHÛ GAFU. N.P., N.D. [Kyoto: Yoshidaya Shimbei?]. String bound Japanese-style, fukuro toji with original blue-grey covers embossed with interlocking octagons, title slip replaced with brushed title. 33 sheets, 5 pp. preface with 30 sheets of color illustrations in Shijô style and a one sheet closing comment. Though there is no colophon this would appear to be a reprint, probably printed by the same publisher as the original edition of 1812. The impressions and colors are good to very good with very little if anything to distinguish them from the original, save a slight difference of color. The covers are very worn. The contents are generally in good condition, with a bit of thumbing and a few abrasions and ink marks. Not a perfect copy, but still a handsome and important Shijô school book by a direct disciple of Maruyama Ôkyo, himself. [See Mitchell, p. 378; Hillier, Vol.2 pp. 711-2; Hillier/Ravicz, p. 42; Holloway, p. 100.] Has been bound into outer soft Japanese paper covers.




37. [EHON] Itô Chûta. ASHURA CHÔ. 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. 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, the outer boxes very unusual, the contents are quite clean, in very good overall condition.




38. [EHON] Kameda BÔSAI, artist. KYÔCHÛZAN. Tôto, 26.6 x 18.1 cm. Blue-green karazuri figured covers and printed paper label. String-bound Japanese-style, fukuro toji. The collation follows example "A" at Mitchell 383-4, save for the following: all sheets are unnumbered; there is a colophon on the inside of the back cover citing Suharaya Shimbei of Edo as the publisher and the publication date as the fifth month of Bunka 6 [1809], though all other internal evidence, i.e. prefaces, closing notes, etc., are dated by the zodiacal date corresponding to 1816. Resembles copy II of the three copies noted by Dr. Pulverer in his article on the bibliography of the book in ANDON magazine #50. As he mentioned, the paper and printing are quite good, though not quite up to the standard of the version I, though much better than his copy III (Mitchell's "C" - which is an obvious small format recut on relatively poor paper.) He describes the book as a "second edition". It is by far the most common version found in the marketplace and most dealers and collectors have thought it a version from relatively early on after the first. The final complication is that this copy is the first I have seen of this version where the inner backing to the title page is a layer of late Edo/early Meiji typeset printing! So, is this copy unique, bound up from earlier sheets with (perhaps) that early spurious 1809 colophon pasted to the inner rear cover sometime between 1850 and 1875? Or are all the versions which resemble Pulverer's II version done at that late date, though probably with sheets from a much earlier printing? I am simply not sure.

What is sure is that this is a very nice printing in very good condition with lovely colors and creamy paper and that this version has always been thought to be one of the "good" ones.




39. [EHON] Katsushika HOKUUN. HOKUUUN MANGA. [Nagoya: Eirakuya Tôshirô, n.d. (No colophon)] 22.7 x 15.8 cm. Only 20 leaves of b+w images. Unusual variant with a hitherto unseen Eirakuya ad. The covers are very worn, but the contents are in good condition with only a bit of thumbing. Good, fairly late impressions.




40. [EHON] Kawamura BUMPÔ, artist. BUMPÔ GAFU Sampen. Osaka & Kyoto: Kawachiya Kihei & Yoshida Shimbei, Bunka 10 [1813]. (Replaced?) blue-green covers, no title label, bound Japanese-style fukuro toji. 25.8 x 17.7 cm. 1 preliminary and 35 paginated sheets, 4 sheets of Yoshida Shimbei ads. Illustrations with light colors. The third series of a continuing work originally projected for ten volumes, which was completed in three. Good or better impressions, good colors, good internal condition, covers a bit soiled and worn.




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




42. (EHON) KAWANABE Kyôsai [Gyôsai] GYÔSAI GADAN. Tokyo: Iwamoto Shun, Meiji 20 [1887]. 25.4 x 17.6 cm. 4 volumes, string-bound Japanese-style in printed covers with paper labels. All in a folding clasped chitsu box with a colorful woodblock printed label. Printed in sumi and light colors throughout. This famous artist's autobiography and copybook provides a remarkable insight into the world of the traditional arts in mid-Meiji Japan by their foremost practitioner. Though this work is not uncommon, the impressions in this copy are very good (Conder's heron has most of its fine detail). There is splitting and crude repair of the box hinges but the book itself is a very good copy. Almost certainly from the library of Arthur Wesley Dow, with his library label and number. As issued:




43. [EHON] KEISAI Masayoshi, artist. CHÔJU RYAKUGASHIKI. Edo, Kyoto, Nagoya & Osaka. Originally published in Edo by Suharaya Ichibei in 1797, this more darkly colored undated version may well be from the mid-19th century. The undated rear inside cover pseudo-colophon lists 10 bookshops as sales agents, 4 in Edo, 3 each in Kyoto and Osaka. Light blue kara-zuri decorated covers, string-bound Japanese style, fukuro-toji, with a printed paper title label. 24.9 x 17.6 cm. Overall this later printing is helped by the fact that the designs are bold and simple - the printings remain crisp. Elephants, frogs and falcons; bugs, fish and mythological beasties - they are depicted with economy and humor. Perhaps the most unusual and creative of all Masayoshi's RYAKUGASHIKI (simple drawing books). The covers are a bit soiled. The contents are in very good condition, fair to good impression.

Great fun! For a complete copy online, see the NYPL copy at http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?





44. [EHON] Keisai Masayoshi, artist. SÔKA RYAKUGA-SHIKI. Kyôto, Unsôdô, N.D., with original Bunka colophon, but this is undoubtedly a 20th century reprint in color woodblock, (from the original blocks?) 1 volume, complete. Plain brown covers, string-bound Japanese style, fukuro toji, with the printed title label. 25.1 X 17.9 cm. The version at hand is part of the 20th century production of this work, demonstrating its ongoing popularity as a classic of Japanese book illustration. Keisai's color woodcuts of plants and flowers. The impressions are fair and late., but without the misa highlights of early editions. In excellent condition overall. This is a study piece and is priced accordingly.




45. [EHON] Keisai Masayoshi, artist. GYÔKAI RYAKUGA-SHIKI with original Bunka colophon, but this is undoubtedly a 20th century reprint in color woodblock, perhaps from the original blocks, perhaps by Unsôdô of Kyôto.. 1 volume, complete. Plain brown covers, string-bound Japanese style, fukuro toji, with the printed title label. 24.6 X 17.9 cm. See Mitchell p. 517 for a concise explanation of the complex 19th century bibliography concerning this work originally published in 1802 as TATSU NO MIYA TSUKO, complete with haiku verses, here eliminated. The version at hand is part of the 20th century production of this work, demonstrating its ongoing popularity as a classic of Japanese book illustration. There are 30 double-page color woodcuts of fish and shellfish. A classic naturalistic work reminiscent of Ryûsui's UMI NO SACHI. The impressions are good, but without the misa highlights of early editions. In excellent condition overall. This is a study piece and is priced accordingly.




46. [EHON] Kitao SHIGEMASA [attributed to]. ONNA BÔKUN OSHIE GUSA Zen. n.p., n.d. [Edo: Maekawa Rikuzaemon, Kansei 2 (1790)] Original dark blue covers with printed paper title labels. 26.7 X 18.2 cm. A practical guide to woman's etiquette, with furigana included to allow easier reading. Includes an interesting section on the marriage ceremony. Profusely illustrated in an ukiyo-e style in black and white woodcut. Overall good condition in worn covers, fair to good impressions. [Attributions, etc., courtesy of R. Sawers] Not in Ryerson, Brown, Mitchell or Hillier. Not found, at least not under this title, in KSSM. Obviously unusual.




47. [EHON] Kôyôken, artist & editor. EHON MONO-IU HANA. Kyoto, Tsuruya Kizaemon. n.d, 21.5 X 15.3 Seven double page images in b+w woodcut, depicting lovely ladies in lavish costumes, along with waka poetry inscribed on traditional cloud bands. Very elegant, lovely images. Not precisely Sukenobu in style, nor Harunobu, either, but designed by an 18th century ukiyo-e [Kansai area?] artist of considerable skill. Kôyôken, the author/artists nom-de-plume for this volume, is otherwise unknown. Only 2 copies are listed in the Kokusho Sômokuroku Union catalogue of pre-Meiji era imprints. [KSSM Vol.7, 14-1].

A little staining, but otherwise a good impression in good condition of this rare work. Original printed title label, perhaps original blue paper blind-patterned wraps, bound fukuro-toji Japanese style.



48. [EHON] Kuwagata KEISAI, artist. KEISAI RYAKUGA ZENSHÛ, 5 vols. Kyoto: Unsôdô, Shôwa 47 [1972]. Complete set in 5 vols of the Unsôdô reprint (from the original blocks) of the Kuwagata Keisai"ryakugashiki" illustrated books in abbreviated strokes. Each volume is 24.8 x 17.8 cm, string-bound Japanese-style, fukuro-toji, with printed paper title labels. Fair late impressions of the SÔKA RYAKUGASHIKI; GYOKAI RYAKUGASHIKI; CHÔJU RYAKUGASHIKI; JIMBUTSU RYAKUGASHIKI & SANSUI RYAKUGASHIKI. With the small guide to the ryakugashiki, written by the scholar Kawakita Michiaki and included in the clasped chitsu case. The case itself is a bit worn, else fine throughout. Complete:




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




50. [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 contenst 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.




51. [EHON] Satô SUISEKI. SUISEKI GAFU. Bunka 11 [1814]. 25.6 X 18.8 cm. This copy of the first series of Suiseki's gafu of figures is a classic of the Shijô genre, universally praised. [See Mitchell pp 505,6; Hillier Vol.2, pp. 753-6; Holloway 51; Ryerson 379; Brown p.93] This copy is of a very good impression with excellent color. It differs from the Mitchell copy at page 505 as follows:

It has yellow covers and the one page sumi images of pine and bamboo before and after the 40 color pages of "occupations" are replaced by a blank page instead of the pine print and Suiseki's printed signature and seal instead of the bamboo. There is no printed title label. This copy does have the "shotei" seal on the hashira throughout. Finally the colophon does list the same publishers as Mitchell's but Suiseki's name and seal appear the page before (instead of the bamboo design, as above) There is no mention of the nihen and sampen versions to come. The prefatory material and first five color images have very light waterstains. Overall, a very nice copy in a good printing and excellent colors of this cornerstone work of Shijô illustration. A very scarce and important work.




52. [EHON] Shijô School Anthology. TAMA HIROI. Kyoto: Omiya Matashichi. 2 vols., circa 1860. String-bound Japanese style [fukurô toji], 25.8 x 17.1 cm. Identical to Mitchell's "Example A", the Omiya issue in two volumes, complete, with the red stamp on the inside back cover. All the prints, poems, finals, etc. are the same as the Mitchell copy. This variant issue is an excellent printing in good colors.

TAMA HIROI is an important anthology, providing exclamatory punctuation to the development of Edo Shijô book illustration. The quality of the technique would not be approached again until the heyday of Meiji color printing thirty years later when the aesthetic had been irrevocably transformed. Therefore, in our opinion, TAMA HIROI is a cornerstone piece in any Edo ehon collection. [Re: Mitchell p. 512,3; Brown 127; Ravicz 45; Hillier Vol.2]

Our copy has the original covers and title labels. It is a clean and well-printed copy of this important work. Complete.




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

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

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

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



54. [EHON] TAGAWA Shundo, edit. & KURATA Tôgaku, artist. GAIBAN YÔBÔ ZUGA. [Edo], Tôshundô Rôjin, Kaei 7 [1854]. String-bound Japanese-style, fukuro-toji, with period [replaced] covers and no title labels, 2 vols., complete. 15.0 X 18.1 cm. The original edition. One double page woodcut color printed hemispherical map of the world, and all 44 full page color prints of people from all over the world - portrayed in somewhat fanciful native costume, largely in pairs, male and female. Each portrait has explanatory text on the facing page. Fascinating and unusual Japanese view of the human race at the time of Perry's arrival. [Kerlen 422 for 1854 edition; KSSM II 41-3] Very good impressions and colors, with some light staining, nicely restored. In custom clapsed chitsu folding case.




55. [EHON] Takeuchi Seihô, artist. SEIHÔ JÛNI FUJI. Kyoto: Yamada Naosaburô & Tanaka Jihei, Meiji 27 [1894] 22.7 x 32.5 cm Oblong orihon folding album of 12 full page color woodblocks with a one page preface and one page table of contents and a following colophon. In burlap cloth over boards covers with a silk title label. A very good copy of this work in good impressions and colors. [See Hillier's volume 2, p.991; Mitchell p.464; Brown p.202] [YR]




56. [EHON] Tatebayashi KAGEI. KÔRIN MANGA, Zen. [NAGOYA], Tôhekidô [Eirakuya Tôshiro]. 22.8 x 15.8 cm. String-bound Japanese-style, fukuro-toji. Sumi, b+w woodblock illustrations throughout, in the spirit of Ôgata Kôrin. This modest but lovely Rimpa work first appeared in 1817. This is a reprint, done by the house of Tôhekidô, with Forrer's ads G47, hence, probably published in the 1870s. Bound in the publisher's standard orange patterned covers with a printed paper title label. Very good condition, good impressions.




57. [EHON] Torii KIYONAGA, artist. EHON MUCHI BUKURO. Tôto [Edo], Iseya, Temmei 2 [1782]. 2 vols. in one. 21.4 x 15.1 CM, String-bound, Japanese-style, fukuro-toji. Extremely rare color printed book of scenes derring-do, rendered in Kiyonaga's wonderful style. Ten double page and three single page plates. Rubbed and a bit soiled, especially the first half of the work. With a [early 19th century?] hand drawn sketch of a tiger on the cover which is quite lovely in and of itself. There is a copy of this work in the British Museum, but I have not been able to track down any other copies outside Japan and the KSSM only lists the copy in the Diet Library.. [See Hillier 383, 387 for more on this work]. As the covers are not original, the title page, which had been laid down to the inner front cover, is missing as well. The colophon is present, as are the text and images. Though a prolific printmaker, Kiyonaga illustrated few books, though the quality of these designs makes one wonder why. In a handsome clasped chitsu case.




58. [EHON] Totoya HOKKEI. KYÔKA FUSÔ MEISHO ZUE Zen. Bunsei 7 [1824]. String-bound, Japanese-style, fukuro-toji, blue paper covers, printed paper title label. 19 double page and 2 single page delicately color printed landscapes of famous places in Japan, plus 21 leaves of a Kyôka session. Some worming, else very good. Good impressions and colors throughout. See British Museum JH 278. Complete.




59. [EHON] Tsuji HÔZAN, artist. BITCHÛ MEISHO ZUE [KÔ] 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 "KÔ", he acknowledges 4 volume copies as wel, cover-titled "ZUE", All internal titling of this work is "KÔ" & "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.




60. [EHON] UNSÔDÔ, Publisher. KANÔKE GAFU. Kyoto: Taishô 2 [1913]. 24.1 x 32.2 cm, Oblong tassel-bound paper covers. 12 fullpage color woodblock prints after paintings by Kanô school artists. Very good.




61. [EHON] UNSÔDÔ, Publisher. Kinsei Meika SANSUI GAFU Kôhen. Kyoto: Taishô 2 [1913]. 24.1 x 32.2 cm, Oblong tassel-bound paper covers. 12 fullpage color woodblock prints of master landscape paintings. Very good.




62. [EHON] UNSÔDÔ, Publisher. KODAI MEIJIN GAFU. Kyoto: Taishô 2 [1913]. 24.1 x 32.2 cm, Oblong tassel-bound paper covers. 12 fullpage color woodblock prints after ancient and contemporary paitnings by master artists of Japan and China. Very good.




63. [EHON] UNSÔDÔ, Publisher. KYÔTO MEISHO GAFU Kôhen. Kyoto: Taishô 2 [1913]. 24.1 x 32.2 cm, Oblong tassel-bound paper covers. 12 fullpage color woodblock prints of famous scenic spots in Kyoto. Very good.




64. [EHON] Yamaguchi SÔKEN, artist. YAMATO JIMBUTSU GAFU. 3 vols., black covers string-bound fukuro-toji with printed paper title labels. Sôken (1759-1818) was one of Ôkyô's most important students and his YAMATO JIMBUTSU GAFU is one of the early classics of the Shijô genre. Published in three volumes in 1799-1800, a second series of 3 volumes followed in 1804. This copy of the first series is one printed (from the original blocks?) in Kyôto by Yamada Unsôdô during the late Meiji period. Good condition, fair late impressions.




65. [EHON] Yamaguchi SÔKEN, artist. YAMATO JIMBUTSU GAFU Kôhen. 3 vols., black covers string-bound fukuro-toji with printed paper title labels. Sôken (1759-1818) was one of Ôkyô's most important students and his YAMATO JIMBUTSU GAFU is one of the early classics of the Shijô genre. Published in three volumes in 1799-1800, a second series of 3 volumes followed in 1804. This copy of the second series is one printed (from the original blocks?) in Kyôto by Yamada Unsôdô during the late Meiji period, though it lacks the Unsôdô colophon which the first series has.. Very good condition, good late impressions.




66. [EHON] Yashima GAKUTEI, artist. ICHIRO GAFU. Ôsaka, Maekawa Zembei, [preface dated zodiacally as 1823]. 22.1 X 15.4 cm. Orange covers blind-patterned with a lozenge design, dark blue printed paper title label, fukuro toji binding, string-bound Japanese style. Illustrated throughout in color with many single and double page landscapes with figures. [Re: Hillier & Smith #127; Hillier Vol.2 p.854,5; Ryerson 277] An important classic which Hillier explains is a reprint, without the verse, of an earlier two volume privately printed "Kyokabon", entitled "Sansui Kikan Kyôka Shû" by Gakutei. Our copy is intermediate in ndate between the true 1823 Gasendô version and the Meiji version by Kajita Kansuke of Nagoya. It is bound without the double page image at sheet 10/11 which is very frequently missing. Thus there is a total of 24 single page and 7 double page images in the delicate colors of a relatively early impression (much lighter and more delicate than the Kanjita Kansuke version) The impressions are good. The covers are stained and spotted, but the interior is clean. One volume, as issued.





67. [EPHEMERA - ADVERTISING, GRAPHIC DESIGN, & COMMERCIAL PRINTING]. A CONTEMPORARY COLLECTION OF JAPANESE ADVERTISING AND GRAPHIC DESIGN, CIRCA 1930-1935. Four commercially manufactured scrapbooks containing 1146 examples, and eighteen loose plates, that show the vibrant mix of tradition and modernity to be found in advertising, illustrations, paintings, bookplates, match box covers, etc., of the time. Some woodblock prints are also included. Although the source of the images is not included, 161 color plates are identified with the monogram N.T.G. (Nihon Tosha Geijutsuin - the name is usually translated as Japan Reproduction Art Academy) and showcase a variety of printing methods for reproducing illustrations, from traditional ukiyoe images to contemporary art. They are all roughly the same size, around 24 x 16 cm, and many are dated, from 1932-1935, and sometimes identify the printer. The rest of the images appear to have been clipped from newspapers and periodicals or saved from packaging (labels, wrapping paper, covers of pamphlets and notebooks, etc.), and range in size from tiny (2 x 2 cm) to double-page (26 x 38 cm). The larger examples are mostly color, while the smaller examples are mostly black and white with some color images mixed in. The color plates are mostly bright and clean, though a very few are lightly foxed, and the paper for most of the clipped images has darkened with age. Three of the scrapbooks are identically bound in stiff, olive-brown paper boards with SCRAP BOOK printed on upper board and spine. They are lightly soiled and edgeworn, and the upper joint of one is cracked, but all are sound. The fourth, a gray cloth-covered binder with SCRAP BOOK printed on spine, show light wear and is largely unused, having only 24 of its 96 pages occupied. It is different from the others not only in its binding, but in its thematic content: all of the designs feature cranes. An interesting and fun compendium:




68. [FASHION] FASSHON KUOTARII-SHA, publisher. FUKUSÔ SEIKATSU v. 1, #1. Tokyo, Shôwa 16 [1941]. Illustrated wrappers, 29.6 x 21.0 cm. Interesting first issue of the magazine FASHION LIFE, published by FASHION QUARTERLY COMPANY. Heavily illustrated, largely with sketches. The covers were designed by Kitasono Katue. Sophisticated layout and presentation of feminine clothing styles of the day. Chip to the lower left corner of the front cover, else about very good.




69. [JAPAN - PHOTOGRAPHY]. REMINISCENCES OF KYUSHU. N.p., n.d. (ca.1900). An oblong album, 10 1/2" x 7", in a contemporary binding of three-quarter leather with cloth sides. 80 photographs, 2 1/4" x 3 1/2", mounted on ten thick card stock pages. Bookplate of Frederic Hardwicke Knight to front paste-down. Joints are cracked, with some loss at corners. Cloth is lightly worn. Card stock and tissue show moderate foxing along edges; however, the photographs are clean and bright. Ink captions in English are of a trip through the island of Kyushu around the turn of the century. Locations range from Fukuoka and Nagasaki and the surrounding countryside to the Obama Springs at the foot of Mt. Unzen. Includes various scenes of daily life as well as landscapes and scenery.




70. [JAPANESE PAPERMAKING] Edited by Bunsho Jugaku, et al. MAINICHI SHINBUNSHA, publisher. TESUKI WASHI TAIKAN. Tokyo, 1974. Five huge clamshell boxes (each box is approximately 21 x 16 x 6 inches and weighhs around 30 lbs.) containing 1000 folios of paper samples along with explanatory text volumes (bilingual: Japanese and English). Limited to 1000 copies. The original clamshell boxes are very clean. Internally fine. Complete.

To quote from Soren Edgren's description of this work, from a catalogue published in 1978:

"The beauty and value of this collection defy description. The numbered samples with their detailed bilingual data constitute a Papermaking Museum. Another undertaking approaching this magnitude is inconceivable today."

The ultimate work on the subject.




71. [JAPANESE PAPERMAKING] GÔTÔ 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 fine copy without the foxing which sometimes mars this work.




72. [JUVENILE SCIENCE] HATOYAMA Michio. Bokura no Kagaku Bunko GENSHI NO HANASHI. Tôkyô, Seibundô Shinkôsha, Shôwa 15 [1940]. 18.8 x 15.3 cm. Decorated paper over boards, bound Western-style, with the original decorated slipcase. The fascinating text of this DISCUSSION OF ATOMS, begins by debunking some newspaper reports that the German armed forces were using the power of the atom in in their war effort, explaining that such a development was some time away, though coming soon as science advanced. Little could they predict! An interesting popular guide to the state of world research in 1940 on the atom, particularly chilling to the reader today. The illustrations show earnest scientists bent to their work of research, with many photographic illustrations of test equipment, etc. A volume in the important BOKURA NO KAGAKU BUNKO series, whose first production was a book entitled UTCHÛ RYOKÔ [SPACE TRAVEL]! Surely the Japanese were straining to reach the future. The bookdesign is by the noted artist Hatsuyama Shigeru. The slipcase hinges have been restored, the book itself is very good to fine.




73. Kamisaka SEKKA, artist. PORTFOLIO OF 4 WOODBLOCK PRINTS. These four prints are mentioned as a group as item 243A in the Sekka catalog: KAMISAKA SEKKA: RIMPA MASTER-PIONEER OF MODERN DESIGN. The catalogue attributes there creation to the 1920's. Though we have the original paper sleeve with printed paper title label ("HANGA- MAI SEKKA-HITSU") in which they were issued, they do not appear to resemble a "set" per se, as they are 4 different sizes. There is a native woman bearing goods in a basket on her head [27.5 x 20.5 cm]; A lion dancer and flautist [30 x 20.5 cm]; a samurai [26 x 17.3 cm] and a boatman on a raft [30 x 21.6 cm]. In good condition, impressions and colors, classic Sekka. Very unusual in the original enclosure.




74. LINK, Howard A. PRIMITIVE UKIYO-E from the James A. Michener Collection in the Honolulu Academy of Arts. Honolulu: University Press of Hawaii, (1980). 4to, brown cloth-backed, tan cloth-covered boards; xxii + 32pp. with many ills, some in color. As new in a dust jacket.


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




76. (Maki Haku, Artist) Brannan, Noah, & William Elliott, translators. FESTIVE WINE. ANCIENT JAPANESE POEMS FROM THE KINKAFU. New York & Tokyo: Weatherhill, 1969. #135 of 150 deluxe copies, signed and sealed by the artist Maki Haku and including 21 signed color woodblock prints by him. 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.





77. MIURA, Tini. SEKAI SEIHEN SOHTEI KAI NO KYOSHOH TINI MIURA NO SEKAI 1980-1990. A MASTER'S BIBLIOPHILE BINDINGS TINI MIURA 1980-1990. Tokyo: Kyoiku Shoseki, (1990). Folio. 35 x 26 cm. A photographic survey of master binder Tini Miura's book bindings from 1980-1990. Color photographs by Katsuhiko Ushiro + Studio Back, with Japanese captions. This copy is number 1 of 50 signed and numbered copies specially bound by Tini Miura, each a unique work of art. This copy is bound in full leather, with a design of vertical stripes of various colors and gilt single-rules, with large square onlays and vertical rows of small colored dots and small gilt circles, with decorated doublures, and marbled and colored fly-leaves, a.e.g. This beautiful binding is well protected in a fleece-lined marbled-paper chemise with a leather backstrip, and housed in a fleece-lined marble paper-covered slipcase, which is stored within a plain cloth slipcase with an abraded leather label. A fine binding in fine condition:




78. ONCHI Koshirô, artist & MAEDA Sekibô, poet. Kashû SHINSHÔ FUJI [Collection of Poetry: NEW PRAISE, FUJI] Tokyo: Fugaku Honsha, Shôwa 21 [1946]. 28.7 x 20 cm., 2 full page color woodcuts by Onchi, 1 tipped-in page of calligraphy. Blue and white flexible covers, in a dustwrapper depicting Fuji which is also a print by Onchi. The prints by Onchi are very lovely. Very good. [See Sotheby's Schlosser Sale Item #302 for another copy; Hillier Vol. 2, p 1022]




79. ONCHI Kôshiro, artist. Framed collection of Woodcut Illustrations. After the war, Onchi Koshiro created a series of woodcut illustrations for a project involving the publication of a revamped classroom curriculum for Japanese students in the post-war era. For whatever reason, those designs do not appear to have been used -they do not appear in his catalog raisonné of prints and book illustrations. Though a series of edited and expurgated pre-war textbooks were employed immediately after the war, more permanent changes in the curriculum were not effected for several years. As this set of Onchi illustrations were designed to be used in a basic Japanese language book, it is possible that the extensive language reform after the war stopped the finalization and publication of the textbook at all.

In any event, the set has a few marginal notations which indicate page placement, etc., so the project must have proceeded to the mock-up level before being abandoned. There are 11 cuts in b+w with two having light coloration. Portraits of Tolstoy, Einstein, Lincoln and Franklin combine with landscapes, insects, children at play, etc. The images seem to be suffused with a gentle sadness - they certainly seem to capture the spirit of the times.

Truly a lovely and important group. There is no way to overestimate Onchi's importance to 20th century Japanese print making. This experimental group of cuts is a tribute to his art and an accurate evocation of an age. Framed in a custom mat.




80. ONCHI Kôshirô. Drawing for Gekkan KYÔTO Magazine. An original drawing and magazine printer's proof page, tipped onto a single sheet, 27.4 x 19.2 cm., along with a xerox of the illustration and article as printed in the magazine in 1951. The article was entitled HAHA NO TERYÔRI [MOM'S HOME COOKING] and the illustration is of a homely meal of tôfu, herbs and a chawanmushi, with Onchi's calligraphed caption. As is evident from the proof and the printed article, it was all quite faithfully reproduced. Charming and effecting evocation of a warmly remembered distant past, long before the war and the privations all around. A very nice and contextualized presentation.




81. 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.




82. ONCHI Koshiro. Onchi Koshiro Shibun-shû KISETSU-HYÔ. Tokyo: Aoi-Shobô, Showa 10 [1935].  This copy is #15 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, housed in a custom-made wooden box.  Besides the illustrations, Onchi wrote the poems in this collection and was responsible for the book's design.  The text reproduces his calligraphy.  It is signed by Onchi and contains a photogravure portrait of him.

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 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 since parted ways with its fukan companion.

It is a tour de force of bookmanship, and the most elusive of all Onchi's productions.  [See Onchi, HON NO BIJUTSU, p 110].





* ÔE, Kenzaburo. SHISHA NO OGORI. Tokyo, Bungei Shunjû, 1958, First printing, 8vo. Tan boards in printed dustwrapper. A bit foxed and stained in fine dustwrapper. Ôe's first appearance in book form. This volume of very early stories also includes his important stories "SHIIKU" ["The Catch"] and "TANIN NO ASHI" ["SOMEONE ELSE"S FEET"]. "SHISHA NO OGORI" had first appeared in Bungakukai the year before as ÔE's first appearance in print. Later translated as "LAVISH ARE THE DEAD" and published in the Evergreen Review in 1965.

* ÔE, Kenzaburo. MIRU MAE NI TÔBE. Tokyo, Shinchôsha, 1958. First Printing, 8vo. Red cloth in printed dustwrapper. A selection of short stories, here published in book form for the first time. Shinchôsha obviously rushed these stories into print, capitalizing on young Ôe's celebrity after he won the Akutagawa Prize earlier in the year for SHIIKU. The stories first appeared in 1958 in Shinchô magazine. The title story is usually translated as "LEAP BEFORE YOU LOOK." "FUI NO OSHI" ["UNEXPECTED MUTENESS"], on the vicissitudes of human communication, has been translated into many languages since. A very important collection here in very good or better condition.


* ÔE, Kenzaburo. WARERA NO JIDAI. NOTRE EPOQUE. Tokyo, Chûô Kôronsha, 1959. First edition of Ôe's second novel, the title of which is usually translated OUR GENERATION. 8vo., softcovers with self-wrappers, in the original slipcase with belly-band. Near fine.


* ÔE Kenzaburo. KODOKU NA SEINEN NO KYUKA. Tokyo, Shinchôsha, 1960. First Edition., 8vo. Cloth over boards, in printed slipcase. Collection of fiction. Fine.


* ÔE KENZABURO-SHÛ Tokyo, Chikuma Shobô, 1960, 8vo., First thus. Very early and unusual collection of Ôe stories, published as number 12 in the series SHINSETSU BUNGAKU SÔSHO. Stiff paper covers, in slipcase. Fine.


* ÔE Kenzaburo. YOOROPPA NO KOE BOKU JISSHIN NO KOE. Tokyo, Asahi Shimbunsha, 1962. 1st edition. Illustrated boards in printed dustwrapper, with bellyband. Fine. The title could be translated as "Europe's Voice and My Own."


* ÔE, Kenzaburo. SAKEBIGOE. Tokyo, Kôdansha, First Printing, 1963. Black cloth, 8vo., in slipcase. The first publication of these short stories in book form - the title story had appeared the year before in a literary magazine. Fine.


* ÔE Kenzaburo. SEITEKI NINGEN. Tokyo, Shinchôsha, 1963, First edition. 8vo., Boards in slipcase with bellyband. Early story, untranslated ["Sexual Humanity"]. Fine.


* ÔE Kenzaburo. YORU YO YURUYAKANI AYUME. Tokyo Kôdansha, 1963, 1st Printing. 8vo., Soft cover. Self-wrappers. Very unusual tale which does not appear in Ôe bibliographies. The title could be translated as IT'S NIGHT-TIME, TAKE IT SLOW... Fine.


* ÔE, Kenzaburo. KOJINTEKI NA TAIKEN. Tokyo Shinchôsha, 1964. First Printing. 8vo., purple cloth, fine in a printed dustwrapper with slight foxing, all in a printed slipcase. Translated by John Nathan in 1968 as A PERSONAL MATTER, this is probably Oe's most famous and well-regarded novel, at least abroad.


* ÔE Kenzaburo. NICHIJÔ SEIKATSU NO BÔKEN. Tokyo, Bungei Shunjû, 1964. First edition. 8vo., Black paper-covered boards in printed dustwrapper and bellyband. Very early novel, never translated, whose title could be rendered THE DANGERS OF EVERYDAY LIFE. Fine.


* ÔE, Kenzaburo. MAN'EN GANNEN NO FUTTOBOORU. Tokyo, Kôdansha, First Printing, 1967. Black cloth, 8vo., in slipcase. One of Ôe's most important novels, which grew out of his experiences as a student radical. Translated by John Bester as THE SILENT CRY and published in the US in 1974. Fine.


* ÔE, Kenzaburo. MAN'EN GANNEN NO FUTTOBOORU. Tokyo, Kôdansha, First Printing, 1967. Black cloth, 8vo., in slipcase. One of Ôe's most important novels, which grew out of his experiences as a student radical. Translated by John Bester as THE SILENT CRY and published in the US in 1974. Fine. This copy is signed by Ôe in Japanese on the preliminaries and includes the little advance sheet issued by the publisher.


DELUXE WARERA NO BUNGAKU 18 ÔE KENZABURO. Tokyo, Kôdansha, 1969. First thus. 8vo., leatheroid over boards, in slipcase. From the Kodansha "Contemporary Literature" series. Reprints of Oe's earliest stories, here re-issued about a decade later, by which time Ôe had already become an important writer in Japan. Signed by Ôe twice in English as "Kenzaburo" and once in Japanese with his full name.


* ÔE Kenzaburo. KOWAREMONO TO SHITE NO NINGEN - KATSUJI NO MUKOU NO KURAYAMI. Tokyo, Kôdansha, 1970, First printing, 8vo., Green cloth in printed dustwrapper with bellyband. Essay collection whose title could be rendered BROKEN HUMANITY - THE DARKNESS BEYOND THE PRINTED WORD. Fine.


* ÔE Kenzaburo. KUJIRA NO SHIMETSUSURU HI. Tokyo, Bungei Shunjû, 1972, First Printing. 8vo., green cloth in printed dustwrapper. Essay collection. The title essay is sometimes rendered THE EXTINCTION OF THE WHALES. Fine.


* ÔE Kenzaburo, PINCHIRANNAA CHÔSHO. Tokyo, Shinchôsha, First Edition, 1976, 8vo., black cloth in printed dustwrapper with bellyband. This novel was translated by Michiko Wilson as THE PINCH RUNNER MEMORANDUM and published in the 90's. This fine copy is signed in ink by Ôe on the preliminaries.


*. ÔE Kenzaburo. DÔJIDAI GEEMU. Tokyo, Shinchôsha, 1979. 1st edition. 8vo., Black cloth in printed dustwrappers, all in slipcase. Title translated as either CONTEMPORARY GAMES or COEVAL GAMES. Fine.


* ÔE Kenzaburo. ATARASHII HITO YO MEZAME YO. Tokyo, Kôdansha, 1983, First Printing. 8vo., Green cloth in printed dustwrapper and bellyband. Received the Osaragi Jiro Prize for non-fiction that year. A picture of his "idiot" son, Hikari, now revealing his latent musical talent as he turns twenty. Fine. Signed by Ôe on the preliminaries. It was later translated by John Nathan as ROUSE UP, O YOUNG MEN OF THE NEW AGE


* ÔE, Kenzaburo. IKA NI KI WO KOROSU KA. Tokyo, Bungei Shunjû, 1984. First Printing. 8vo., red cloth, in dustwrapper, with bellyband, Fine.


* ÔE, Kenzaburo.CHÛGAERI. Tokyo, Kôdansha, First Printing, 1999. 8vo., Cream paper over boards, in printed dustwrappers with bellybands. 2 volumes, complete. Translated as SOMERSAULT by Philip Gabriel and published in 2003.




84. [PHOTOGRAPHY - JAPAN] ALBUM OF PHOTOGRAPHS OF THE AFTERMATH OF THE KANTO EARTHQUAKE OF 1923. Oblong 11" x 15" grey cloth cord-bound covers. 93 original b/w photographs 4 3/8" x 6" mounted on thick card stock, two per page.Bookplate to fly leaf reads "ex libris K. Sinkai". Boards are slightly bowed. Cloth is moderately worn. Card stock is lightly soiled with a few pages showing light foxing. Photographs are clean and bright. Extraordinary images with fine detail, ink captions by hand in Japanese, detailing locations where the photos were taken. Most images are of damage to the buildings, roads and other structures in Tokyo, Yokohama and environs as far as Odawara and Hakone. There are a number of photos of relief efforts and other scenes of daily life following the disaster. Our research has not turned up any of these images in published albums or accounts. The photographs themselves are very skillful, more apt to be the work of a professional photographer rather than snapshots by an amateur. The photos are quiet, and convey the stunning extent of the utter destruction. The few people seen are dwarfed by the ruins. In very good condition overall.




85. [PHOTOGRAPHY- JAPAN]. SCENES ON THE TRANS-SIBERIAN RAILWAYS. [ca.1920s] Contemporary oblong folio rebacked. Album of 250 photo illustrations of the Japanese Imperial Army in the Allied Siberian Expedition- 1918-1922 ranging in size from 3 5/8" x 5 1/8" to 8 3/4 x 11 1/2". Includes a panoramic bird's eye view of Vladovostok measuring 7 3/8' x 41 7/8/" and a fold out map of the route of the expedition measuring 14" x 29 3/4". Three-quarter leather stamped in gilt, rebacked. The cloth and leather corner pieces are worn and rubbed. Captions in Japanese, English and Russian with text in Japanese. title is taken from cover. Includes a number of pictures of partisan sabotage of railway between Chita and Krasnoyarsk.




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




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




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




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




90. [PREWAR INDUSTRY] CHUÔ KÔGYÔ-SHA. .....OYOBI KAGAKU KÔGYÔYÔ KIKAI NARABI NI SÔCHI 2594 Tôkyô, 26.3 X 19.4 cm, printed wrappers, 50+pp. Interesting and informative pamphlet on Chuo Kogyo's machinery and plant construction for chemical and coal gasification works. Many photographic illustrations. An excellent example of a consciousness of "the machine as art" - the layout, diagrams and illustrations enhance and demonstrate the essential visual artfulness of these utilitarian machines and structures. In very good condition.




91. [PROLETARIAN ART] NIHON PURORETARIA BIJUTSUKA DÔMEI, editors. NIHON PURORETARIA BIJUTSU-SHÛ ALBUMO DE JAPANA. Tôkyô, Naigai-sha, Shôwa 6 [1931]. 146pp.+, Bound western style in wrappers, illustrated [a few in color]. 25.6 x 18.7 cm. The covers are a bit worn and solied, the interior has a lot of useful pencil captioning of images in English. Very unusual, infomrative and important collection of Proletarian artists and their works, from the heydey of the genre, before the reaction.




92. [SKETCHTOUR GENRE] Fukuda Bisen, artist. SHINA TAIKAN. Tokyo, Taishô 6 "Saihan" ["Second Impression"] 1917. 2 volumes, oblong folio, 23.4 x 31.4 cm.

Scott Johnson in his seminal article on the skecthtour genre in ANDON 37, has called this work "the most ambitious of all the sketch-tour books." It is a remarkable tour de force of printing, full of wonderful illustrations of contemporary China, including many full color woodcuts, printed by the estimable Nishimura Kumakichi.

It is well known that Kanao Tanejiro, the publisher, suffered financially because of the investment he made in this book, which never sold in any quantity because of the huge price he was forced to place on it: 35 Yen. Our copy would appear to be one of the re-issued versions which saw the light of day a few months after the Kanao Bun'endô issue was released. The colophon credits Tokyo Times of Tokyo as the publishing house, while acknowledging Kanao as the publisher. Kanao had relationships throughout the newspaper business and this must have represented an effort to salvage his business (at least one other copy exists from the same time with the colophon crediting yet another newspaper publisher).

This set is hardly ever found, and when found the lovely woodblock-printed covers have usually suffered. Our copy has the original wraparound chitsu case, repaired and a bit soiled. Some internal foxing, but overall a good set, complete, of one of the most important works of the Sketchtour genre:




93. [SKETCHTOUR GENRE] Fukuda Shûtaro [Bisen], artist. SHINA SANJÛ-GAKAN. Tokyo, Kanao Bun'endô, Taishô 9 [1920]. 2 volumes, oblong folio, 23.2 x 31.2 cm.

A few years after Bun'endô had published the justly famous SHINA TAIKAN by the same artist, the publisher, Kanao Takejiro, assembled the same group of artisans (incuding the master printer, Nishimura Kumakichi) to craft another "take" on the scenery of China - a series of 30 "scrolls" in color woodcut embedded in a narrative shot through with a multitude of illustrations in other media. Scott Johnson in his seminal article on the sketchtour genre in ANDON 37, has called SHINA TAIKAN "the most ambitious of all the sketch-tour books." The SHINA SANJÛ-GAKAN is certainly no less of an impressive achievment (and a much scarcer book).

Enormously expensive to produce (It was priced at 50 Yen, impressive even by the inflationary standards of the time!) few were sold and this set is hardly ever found. Our copy has the original wraparound chitsu case with clasps intact. The chitsu itself is a work of art, depicting junks on a river. With a bit of internal foxing and a hint of hinge weakening, but overall a very nice set, complete, of an important and scarce work in the sketchtour genre:




94. [SKETCHTOUR GENRE] Nakazawa Hiromitsu, artist. NIHON TAIKAN. [Views of Japan] Tokyo: Bunendoo, 1922. 38 x 27 cm, oblong folio in size. 50 single sheet color woodblock prints of views, primarily in the Kyoto/Osaka area, with prefatory descriptions, in a tied portfolio with a woodblock cover.

This massive work was undertaken by Kanao Tanejirô of the important publisher Bunendô. His earlier HANSHIN MEISHO ZUE had been a departure for the book publisher Kanao into a new field - oban size print portfolios. NIHON TAIKAN was a direct challenge to the primacy of Watanabe in the field of shin hanga prints and an effort to redirect the genre away from its emphasis on bijin and the like. For this effort, he assembled some of the best printers and engravers of the day, Nishimura Kumakichi and Okada Seijirô, and combined their talents with those of the artist Nakazawa Hiromitsu. Hiromitsu's work is at its best here. Less stiff than that of Hasui or even Yoshida, it carries the recreation in woodcut of the "feel" of watercolor to new heights. (See Scott Johnson on the `Sketchtour' genre for more on Bunendô and Hiromitsu.)

In any case, this most ambitious of Bun'endô's landscape productions is also the rarest. Completed the year before the great Earthquake and fire of 1923, all the unsold sets of NIHON TAIKAN and the blocks themselves were lost and Bun'endô moved to Kyoto in an attempt to restore the company fortunes.

This set of prints is very well-printed, though the preliminaries are a bit foxed. There is ocassional marginal foxing to the prints as well, not effecting the images. The original portfolio is a bit worn, but intact. Rare:




95. [SÔSAKU HANGA] HANGA 4 Hanga no Ie. Kôbe, Taishô 13 [1924]. Bound Western style in wrappers, 25.4 x 18.8 cm. 10 prints inside and one on the cover, three of which are original woodblock prints (by Kurita, Kawasaki and Fujiki) This important print magazine is bilingual Japanese-English throughout. Very good condition copy of the fourth number of this scarce magazine, complete.




96. [SÔSAKU HANGA] HANGA The Magazine for Lovers of Print. 2 Hanga no Ie. Kôbe, Taishô 13 [1924]. Bound Western style in wrappers, 24.6 x 19.4 cm. 10 original woodblock prints inside and one mounted on the cover. This important print magazine was edited by Oda Kazuma and includes a print by him as well as others by Ishii, Kawai, Henmi, Moritani, Kitamura, Yamanouchi, Koizumi, Kosaka, Harumura & Hiratsuka. Bilingual Japanese-English throughout. Very good condition copy of the second number of this scarce magazine, complete.




97. [SÔSAKU HANGA] HANGA NEW ART Vol.6, Hanga no Ie. Kôbe, Taishô 14 [1925]. Portfolio of 10 prints, enclosed in the publisher's printed envelope. 10 prints inside and one on the envelope cover, seven of which are original woodblock prints (by Asahi, Inagaki, Moritani, Nagase, Suwa, Yamaguchi & Hirakawa). This important print magazine is bilingual Japanese-English throughout. Good condition copy (with some soiling and staining to the envelope and contents page) of the sixth number of this scarce magazine, complete.




98. [SÔSAKU HANGA] HANGA NEW ART Vol.7, Hanga no Ie. Kôbe, Taishô 14 [1925]. Portfolio of 10 prints, enclosed in the publisher's printed envelope. 10 prints inside and one on the envelope cover, six of which are original woodblock prints (by Hirakawa, Hiratsuka, Kitamura, Koizumi, Ohtsuki & Henmi). This important print magazine is bilingual Japanese-English throughout. Very good condition copy (with some tearing to the envelope) of the seventh number of this scarce magazine, complete.




99. [SÔSAKU HANGA] HANGA NEW ART Vol.8, Hanga no Ie. Kôbe, Taishô 15 [1926]. Portfolio of 10 prints, enclosed in the publisher's printed envelope. 10 prints inside and one on the envelope cover, sfive of which are original woodblock prints (by Fukazawa, Hirakawa, Kawanishi, Kawakami & Moritani). This important print magazine is bilingual Japanese-English throughout. Very good condition copy (with some tearing and toning to the envelope) of the eighth number of this scarce magazine, complete.




100. [SÔSAKU HANGA] Kawanishi Hide, artist. CARMEN. Tokyo: Hangasô, Shôwa 9 [1934]. 29.7 x 22.6 cm, heavy paper covers and contents. The covers, title page, introduction, colophon and 9 images are all printed in color woodcut. It is a bit toned, soiled and foxed throughout. This precis of the opera has all the naive and vibrant life for which Kawanishi Hide's work is famous.




101. [SÔSAKU HANGA] Kawanishi Hide, artist. KYOKUBA SHASEICHO. Tokyo, Hangasô, Shôwa 9 [1934]. 29.7 x 22.6 cm, heavy paper covers and contents. The covers, title page and 12 images are all printed in color woodcut. This CIRCUS SKETCHBOOK has all the naive and vibrant life that Kawanishi Hide's work was famous for. Near fine throughout.




102. [SÔSAKU HANGA] ONCHI, Kôshirô, artist & author. UMI NO DÔWA. Tokyo: Hanga-sô, Shôwa 9 [1934]. Self-wrappers, with Onchi's text and accompanying 6 polychrome woodblock prints, the blocks of which were carved by him. Each print is a vortex of images with the female form as visual pivot. Onchi and his work need no introduction - he is considered the most important Japanese printmaker of the mid-Century and one of the most innovative and creative of all time. As a leader of the Sosaku Hanga Creative Print movement, he guided the development of many of the dominant figures of post-war art until his premature death in the 1950's.

UMI NO DÔWA is a remarkable work, it is almost never seen outside of Japan and is by no means common even there. This copy is a bit worn and browned, about good overall - but the 6 plates are much cleaner than usual.




103. [SÔSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Sango. Tôkyô, Shôwa 7 [1932]. 28.2 x 20.0 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is volume one, number three of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. However this issue also has two tipped-in color woodblock prints, one by Kawakami Sumio and one by Azechi Umetaro. There is waterstaining to the back cover, the woodblocks are a bit browned else very good condition.




104. [SÔSAKU HANGA] Shiro to Kuro-sha. HAN GEIJUTSU Sôkango. Tôkyô, Shôwa 7 [1932]. 28.3 x 20.0 cm. Printed wrappers, prints and articles by the foremost critics and practitioners of the Creative Print movement. This is volume one, number one of this important monthly journal. Most of the prints were printed from blocks in b+w, by mounting them into the printing press [kikai-zuri]. However this issue also has two tipped-in color woodblock prints, one by Onchi Kôshiro and one by Maekawa Sempan, handprinted by Takahashi Harumasa of the Takahashi Kôbô (founded during Ansei, it still exists in Tôkyô). There is waterstaining to the front cover, else very good condition.




105. [WRIGHT, Frank Lloyd] TEIKOKU HOTERU [IMPERIAL HOTEL]. Tokyo, Kyôyô-sha, Taisho 12 [1923]. Edited by Takanashi Yûtaro. 25.7 X 19 cm. 58 plates (including floor plans) of the remarkable Frank Lloyd Wright designed Imperial Hotel. Especially interesting as the photos herein were taken as the hotel was just being finished, before the Great Tokyo Earthquake which took place later that same year and which, though it spared the building, did cause structural damage which would eventually lead to its demolition in the 1970s. The tied covers are a bit worn and repaired, the contents in very good condition.