WELCOME TO CATALOGUE 60A
JAPAN AND ASIA

 

20TH CENTURY JAPANESE ART

 

TO ORDER OR INQUIRE:
PLEASE CALL 800-653-7767 or 617-522-2100 OR EMAIL US.

Click on images below for additional views.

Click for more images

1.[BOOKPLATES - CREATIVE PRINT MOVEMENT] YAMAUCHI Kinsaburô. ÔTSU- E ZÔHYÔSHÛ. Tôkyô, Gohachi, Shôwa 62 [1987]. String-bound, Japanese-style, with 12 color woodblock printed bookplates. 18.1 x 15.6 cm Enclosed in a washi paper wraparound with printed paper title label. This is #36 of 50 copies, done as a reprint of the original edition done in 20 copies in Shôwa 35 [1960]. Fine condition.

$375.00 

 

 

 

 

 

 

Click for more images

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

$7,500.00

 

 

 

 

 

 

Click for more images 

3.[CHILDREN'S - JAPAN] TAKEI Takeo, editor. Yôji Hyôjun Ehon OHISAMA TO OTSUKISAMA. Tokyo, Shôwa 15 [1940]. Stiff wrappers, about 10" x 7", illustrated in color throughout. The covers and the twelve double-page spreads within are printed after work by several important artists and illustrators including Takei, himself. This is volume 7 of the "Standard Picture Books for Children" series, its title could be translated as MADAM SUN AND MISTRESS MOON. It has a series of fifteen charming depictions of the influence and necessity of the sun and moon on our daily lives. No sign of the Imperial sun worship of the time save an explicit pictorial juxtaposition of the ancient Egyptians and modern Japanese worshipping the sun. The moon comes in to the picture at the very end, as a guide for children on dark streets at night. The text is by Takei. The covers are a bit rubbed and slightly stained and soiled, but overall a good copy of this extremely ephemeral publication.

$545.00 

 

 

Click for more images 

4.[CREATIVE PRINT MOVEMENT] HIRATSUKA Un'ichi, editor. Shôwa 17-nenpan KITSUTSUKI HANGASHU. There were 100 copies hand-cut and hand-printed by the artists in Tôkyô in 1942. This copy is one of a further 30 sets that were produced to exchange between the members of the artists' group of printmakers who created the series. With the original table of contents which calls for 23 prints (all are present). It should be noted that some of the prints are marred by worming, but this set is extremely unusual and the artists very important, including such masters as Munakata Shikô, Ono Tadashige, Hiratsuka Un'ichi and Azechi Umetarô, among many others. Complete, as issued, in the original portfolio cover with contents page and colophon, as well.

SOLD

 

 

 

 

 

Click for more images

5.[CREATIVE PRINT MOVEMENT] KAWAKAMI Sumio, artist. SHINDERERA SHUSSE EBANASHI' Tôkyô, Shôwa 18 [1943]. Small, 21.2 x 15 cm., brightly colored and charming version of Cinderella, printed privately for Kawakami in color woodblock as number 88 of an edition of 200 copies. String-bound Japanese-style, fukuro-toji, enclosed in the original printed wraparound cover. A perfect copy of this rare item, produced during the war, signed by Kawakami, one of the most important and popular of the creative print artists. As issued.

$1,250.00

 

 

 

 

 

Click for more images

6.[CREATIVE PRINT MOVEMENT] Kuriyama Shigeru, editor. HIHAKU Dai-ikkan, Dai-ichigo. Shizuoka, Shôwa 9 [1934]. Bound Western style in block printed wrappers. 28.7 x 21.5 cm. Contains 12 hand- printed images by such masters of the modern Japanese print as Maekawa Sempan, Hiratsuka Un'ichi, Fujimori Shizuo, Yamaguchi Susumu, Kawakami Sumio, etc., etc. Very scarce dôjin magazine, printed in but 80 copies. Pre-war privately printed magazines like these are quite scarce. In near perfect condition.

$1,100.00

 
 
 

Click for more images

7.[CREATIVE PRINT MOVEMENT] SARASHINA Genzô, poet & KAWAKAMI Sumio, printmaker. KAPPA-DÔ. Tôkyô, Sancha-shobô. Shôwa 53 [1978]. #188 of 200 copies. Bound western-style, printed on Japanese paper, 25.3 x 17.3 cm., with printed washi paper dustwrapper and the original printed box. Lovely poetry book, illustrated with 12 color woodblock prints by Kawakami. Signed by Sarashina. About fine condition throughout, with the original announcement postcard laid- in.

$475.00

 

 
 
 

Click for more images

8.[CREATIVE PRINT MOVEMENT] Sekino Jun'ichirô, arti. YÛREI NO SHO. 1965. Color woodcut prints, in tied printed stencilled cloth over board covers. 15.8 x 13.0 cm. Originally printed in 100 copies in 1950, this is the second edition of 1965, printed by Sekino, himself, and signed by him. This is number 1 of the 200 copies of this edition and thus the most desirable of all the copies. Fine condition in the original box.

SOLD

 

 

 

 

Click for more images

9.[DESIGN BOOK] Takeuchi SEIHO. SEIHO IPPINSHU. Kyoto & Tokyo, Unsôdô, Meiji 12 - 13 [1935 - 6]. The first series, complete with 31 prints in 10 portfolios of SEIHO'S MASTERWORKS. In EHON: THE ARTIST AND THE BOOK IN JAPAN, Roger Keyes' catalogue to the 2007 NYPL exhibition of the same name, quite a bit of attention is paid to this work. The entry quotes Jack Hillier, who called it "one of the most magnificent printing achievements of the twentieth century." Most sets were destroyed, as were the blocks, when the printer's studio in Tokyo burned during the war, making the IPPINSHU quite scarce.

There are 20 woodcuts, double oban in size, as well as 11 other prints done in collotype, lithography and experimental combinations - all the most advanced techniques of the time are lovingly employed to capture Seihô's art.

The prints are bright and clean. The portfolios have undergone a bit of age wear and toning. Housed in a custom clamshell box. A magnificent collection.

$20,000.00

 

 

 

 

 

Click for more images

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


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

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

$25,000.00

 

 

Click for more images

11.[EHON] GENDAI HAIGA SHU [A COLLECTION OF MODERN HAIGA] 1 volume [of 4] Summer. Summer has 30 full page color woodcuts, complete as called for. String-bound Japanese style in printed paper covers. Dated Taishô 5 [1916], first printing. Compiled by Shimada Yûkichi; printed by Kishi Kageyoshi and published by Haigadô, Tokyo.

The GENDAI HAIGA SHU is a work of considerable skill and scarcity. The list of artists involved is a long one, including Nakamura Fusetsu, Tomita Keisen, Ishii Hakutei, Hirafuku Hyakusui, Ota Saburô, Kosugi Misei, Shimomura Izan and many other important figures in Western-style painting, here working in their literati "haiga" mode.

Mitchell had but one volume of the four, the British Library only procured its own complete set within the last ten or fifteen years. Hillier seems to have missed the existence of the book completely. Our "Summer" volume is clean and fresh throughout and the overall condition of the book is very good, with the original covers. The work seems to have escaped the foxing so prevalent in other Taishô era productions. One volume.

$1,250.00

 

 

Click for more images

12.[Ehon] Hashimoto Okiie, artist. NIPPON NO SHIRO. Tokyo: Katô Hanga Kenkyûsho, Shôwa 19 [1944]. 29.2 x 21.1 cm. String-bound Japanese style, fukuro-toji in a printed dustwrapper, in a clasped chitsu case. 13pp. text + 12 woodcuts. This study in words and woodblock prints of twelve of the most famous feudal era castles in Japan is a remarkable testament to the resiliency of the Japanese creative impulse, even in the midst of the Pacific War. The scholarly text is by Kishida Hideto and the twelve double-page color woodblock prints were designed by Hashimoto, here reveling in the subject he knew and loved best. Depicted are Chiyoda Castle in Tokyo, Osaka Castle, Hirosaki Castle, Okayama Castle, Matsuyama Castle, along with Himeji, Kôchi, Ogaki, Oyama, Nagoya, Komoro and Hikone Castles, many of which would be in ashes within a year. This is a lavish and very well-printed production on good paper. The prints are very fresh. [See Hillier 1044,5]

$1,400.00

 

 

 

Click for more images

13.[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

 

Click for more images

14.[JAPANESE TOYS] KAWASAKI Kyosen, artist. OMOCHA JUNI-SHI. N.P., N.D. {Osaka: Darumaya, Taishô 7 [1918]}, 12 double page color woodblock printed illustrations, covering the 12 signs of the Zodiac and presenting the most important children's dolls and toys for each animal. After drawings by Kawasaki Kyosen (1877-1942), one of the most important experts on children's folk toys and dolls of the 20th century. Bound into worn printed publisher's covers with printed paper title label in folding album format, 28.2 x 21.3 cm, so the double page prints are twice that size. Important and quite uncommon. In good condition. All in a custom made clasped chitsu case.

$1,450.00

 

 

Click for more images

15.(KANAO BUN'ENDÔ, Publisher) Yanagawa Shun'yô, author. NASANUNAKA. 3 vols., Tokyo: Taishô 2 [1913]. Bound western-style in printed paper-covered boards in illustrated slipcases. Each volume has two color woodcut frontispieces [kuchi-e] plus photo- reproduced illustrations in the text. The volumes are suffering from some browning, foxing and external edgewear and the slipcases are chipped and worn with some missing pieces. The first volume is a second printing, the second and third are first printings. There was an "afterward" published later, but the three volumes are complete as is, "jô", "chû" & "ge". Even with the problems of condition, this set still impresses with its bold binding and harmonious design. A little known classic of book creation from one of the finest and most creative publishers of the day.

SOLD

 

 

 

Click for more images

16.[KATAZOME] KANZAKA Onjun. TOKI TO NINGYO TO. Horita Ryôhei, n.p. [Osaka?], Shôwa 61 [1986]. 16.3 x 22.2 cm. Designed, printed and colored by Onjun in his katazome stencil medium. Number 49 of only 50 copies of this lovely book bound in orihon folding album style in stiff washi-covered boards and stenciled title label. All in a matching washi handmade paper covered clasped folding chitsu box. A lovely presentation of this artist's book in perfect condition. The subject of the 18 full page illustrations (and facing page text) is dolls and timepieces.

$485.00

 

 

 

 

Click for more images

17.KAWAJI Ryûkô, poet. ONCHI Kôshiro, artist. MUI NO SEKKEI, Shishû. Tokyo, Fugaku Honsha, Shôwa 22 [1947]. Large 8vo., the book was designed by Onchi and illustrated by him as well. There is a wonderful abstract "essential portrait of the poet" in color woodcut by Onchi.

Kawaji was the mentor in poetry for Yukio Mishima when the latter was in his early teens. The book represents quite an interesting intersection of author, artist & designer. The covers are a bit soiled, else very good condition overall. #43 of 600cc, signed by Ryûkô. [Onchi, HON NO BIJITSU, p 116]

$675.00

 
 
 
 
 

Click for more images

18.KAWAKAMI Sumio, artist JIMBUTSU IROHA EGERESU Tokyo: Hangasô, 1935. Small 4to., 25.5 x 18.3 cm, woodcut printed boards and cloth spine. The title of this book could roughly be translated as "an illustrated alphabet of personalities." 26 full page b+w woodcut vignettes, from Admiral to Zeus, accompany a short English and Japanese description on each facing page. A fascinating slice of the Meiji life of Japan in pictures, an era Kawakami returned to again and again in his art. Very clean, without the slipcase. This work was reprinted in the 70's because of its disappearance form the marketplace. An enjoyable work with Kawakami's usual verve. Scarce.

$450.00

 

 

 

 

 

Click for more images

19.KAWAKAMI Sumio, artist. PAN TO NINFU. Privately printed #3 of 40 copies. Ribbon-bound in printed covers, 18.1 x 13.6 cm. Wonderful images printed on black paper, enclosed in a gold wraparound with printed paper label. One of Kawakami's scarcest and most desirable works, here in excellent original condition.

$1,600.00

 

 

 

 

 

Click for more images

20.KAWAKAMI Sumio, artist. RIREKISHO, Gohachi (Seiensô), Shôwa 45 [1970]. Oblong western-bound book, 16.7 x 20.0 cm. #28 of 100 copies, signed by Kawakami, with many hand-colored illustrations in this, his "RESUME". A charming book in Kawakami's distinctive style. Fine in the original shipping box and inner clamshell. Uncommon.

$1,250.00

 

 

 

 

Click for more images

21.KAWASAKI Kyosen. OMOCHA GAFU 10 vols. Ôsaka, Shôwa 7-10 [1932- 5]. Each volume with printed paper title label, string-bound Japanese-style fukuro-toji. Complete set of this illustrated guide to Japanese playthings. Each 23.6 x 16.5 cm volume has 4 full page color woodblock-printed plates and one folding double-size woodblock print, hence 50 in all. Then the scholarly text in Japanese is heavily illustrated in b+w. Wonderful set, in many ways more informative than the UNAI NO TOMO set. The 10 volumes are in fine condition in a chitsu clasped case. Very unusual.

$3,250.00

 

 

 

 

 

Click for more images

22.KITASONO Katue, poet & ONCHI Kôshirô, artist. Shishû NATSU NO TEGAMI. Tôkyô, Aoi Shobô, Shôwa 12 [1937] Folio, 30.0 X 22.0 cm, #11 of 200 copies printed. The binding, the typography, the illustrations, all combine as a fluid visual container for Kitasono's brilliant poems. Interesting to compare this work to the other collaboration (done by the same publisher a year later) of Onchi and Kitasono, SABOTEN-TO. On an interesting side note, when Kitasono sent a copy of this book to his friend Ezra Pound, for whom he had obtained a lucrative position for the JAPAN TIMES as Italian correspondent, the latter confessed he could not even begin to read it (his Chinese was poor and his Japanese non-existent). There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Fine condition, complete as issued. I can locate only two institutional holdings, the British Museum and Mount Holyoke College. I have handled a another copy of this work, which had what was almost certainly the original wraparound case with a printed title label, a detail which this lovely copy does not include, alas. Priced accordingly.

$4,500.00

 

 

Click for more images

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

$750.00

 

 

 

 

Click for more images

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

$485.00

 

 

 

 

 

 

Click for more images

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

$950.00

 

 

 

 

 

Click for more images

26. KITASONO Katue, poet. SABOTEN-TO. Tôkyô, Aoi Shobô, Shôwa 13 [1938] Slender 8vo., one of 170 copies printed. This copy has the signature of Kitasono. Done in combination with the great artist and poet, Onchi Kôshirô, Kitasono has created here the most interesting expression of his "plastic poetry". The binding, the dustcover, the typography, the textual ornaments, all combine as a fluid visual container for Kitasono's brilliant poems. There is not space here to even begin to describe Kitasono's importance to world art and literature. I would refer you to the several works of John Solt, both translations and critical essays, as well as several exhibitions dedicated to Kitasono mounted here and in Europe, as well. Fine condition, complete as issued.

$4,750.00

 

 

 

 

Click for more images

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

$3,600.00

 

 

 

 

 

Click for more images

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

$950.00

 

  

 

 

Click for more images

29.KITASONO Katue, translator. LES JOUES EN FEU HI NO HOHO. Tôkyô, Hakusuisha, 1953, Decorated paper-covered boards in printed slipcase. 19.4 x 14.2 cm. Kitasono's translation of Raymond Radiguet's poetry. Near fine copy, quite unusual.

$600.00

 

 

 

 

Click for more images

30.[LIVRE D'ARTISTE] MORIMOTO Kiyôko, artist. SANJU-SAN BUTSU. Osaka, Riichi. Shôwa 49 [1974]. 22 x 23.5 cm. Hand-bound western style in ostrich leather by Hirooka Riichi. Morimoto was an Osaka printmaker who handcut and handprinted the blocks for the "33 Buddhas" of the title. Designed for an edition of 10 copies, this copy is out of series. There is a small (tanning?) blemish on the ostrich leather, else fine in the original publisher's clasped case. Very Good.

$1,250.00

 

 

Click for more images

31.(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
 

 

 

 

 

Click for more images

32.MICHENER, JAMES A. THE MODERN JAPANESE PRINT, An Appreciation. With Ten Original Prints by Hiratsuka Un'ichi, Maekawa Sempan, Mori Yoshitoshi, Watanabe Sadao, Kinoshita Tomio, Shima Tamami, Azechi Umetaro, Iwami Reika, Yoshida Masaji, Maki Haku.  Rutland:  Tuttle, (1969).  One of 510 numbered copies.  It is signed by Michener on a slip which is tipped-in at the colophon and illustrated with ten large, hand-printed and hand-signed plates by the artists.  The plate blocks were destroyed upon completion of the edition.  A cloth-bound folio volume housed in a wooden slipcase; it is titled in English and Japanese (the Japanese reads "Sôsaku Hanga", that is "creative prints") on both the cloth cover and on the wooden slipcase.  The artists and the prints in this volume have become increasingly collectible since the early 1960s, when this book was produced.  In consequence, many of the copies have been cannibalized for the prints.  Complete copies like this one are unusual. The spine is slightly sunned, internally very fine.

SOLD

 

 

Click for more images

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

$475.00

 

 

 

 

Click for more images

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

$450.00

 

 

 

Click for more images

35.MIMEOGRAPH/STENCIL ART] Wakayama Yasôji, poet and artist. Bôchû Kanpon Sono ni, ESASHI NO SHIGEJIRÔ, ANI. Tôkyô, Seiensô. 1971. #81 of 150 copies, signed by Wakayama. Small western-bound half leather and printed cloth volume, illustrated by Wakayama in his own technique of stencil art, named kôhan. 12 x 13 cm. The fine art printmaking technique of kôhan was developed in 1941 by Wakayama [1903-83], a close associate of Onchi Kôshirô. He was an enormously prolific single sheet printmaker using color woodblock and kôhan, but this charming little volume is one of his scarce and wonderful artist' books. The second of the series, roughly translated as "Books done for fun during a hectic life" It is a fictional record of an exchange of letters with an older brother in Esashi. It is in excellent condition throughout, in the original decorative box and the outer publisher's shipping box, as well.

$550.00

 

 

 

 

Click for more images

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

$650.00

 

 

 

 

 

 

Click for more images

38. Okamoto Ippei, Maekawa Sempan, Hiratsuka Un'ichi, et al. TÔKAIDÔ GOJÛSAN-SUGI MANGA EMAKI. Jô Ge. Two scrolls, each over 30 feet long and 10" high. The scroll set was done in some 250 to 300 copies by 18 members of the Tokyo Manga Association, each set hand- painted. It would appear that the trip upon which the set was based took place in 1920-21 and the paintings must have been finished soon after. The inventory of artists involved include some famous names: Mizushima Nihou, Kondô Koichiro, Ippei, Sempan & Un'ichi, among others. The Great Earthquake must have destroyed quite a few and the war many more. Now the set appears infrequently in the market. Our copy has some creasing to the interior of each scroll and minor foxing that often appears in copies of this work, but, overall, it is clean and quite well painted. A very nice example this genre of hand-painted multiples. In the original inscribed wooden box.

$2,850.00

 

 

 

 

Click for more images

39.OKAMURA Kichiemon, artist. SAITORO-SASHI NO UTA. Privately printed. Shôwa 36 [1961]. 30.4 x 19.6 cm. Includes an english- language pamphlet with a translation of the text, produced by Far Eastern Booksellers of Tôkyô in 1961. The work, printed in stencil in color on handmade paper is string-bound, Japanese-style, fukuro-toji. Okamura was Serizawa's most important student and excelled at producing compelling livre d'artiste in the early post- War years. Very fine in the original publisher's wraparound case.

$850.00

 
 

 

Click for more images

40.OKUMURA Kitchizaemon, artist. MUTSUGAMI ZANBÔROKU: WASURE NO KOSARESHI MUTSUGAMI NO HANASHI. Shôwa 34 [1959]. 30.0 x 21.3 cm. String-bound, Japanese-style. Stencil printed with textual illustrations on records of hand papermaking from the provinces of the far north in Japan. One of 50 copies printed. About fine condition in the original publisher's folding case.

$675.00

 

 

 

 

 

 

Click for more images

41.  ONCHI Koshirô, artist & MAEDA Sekibô, poet. Kashû SHINSHO 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. Dustwrapper lightly foxed and strengthened on reverse at center with a thin strip of paper that goes from head to heel. The prints by Onchi are very lovely. Very good. [See Sotheby's Schlosser Sale Item #302 for another copy; Hillier Vol. 2, p 1022]

$1,350.00

 

 

 

 

 

 

Click for more images

42.ONCHI KOSHIRO, artist. CHU.GYO.KAI. 26.6 X 20.8 cm. #158 of 250cc. Aoi Shobô. A wonderful Onchi cover and 10 prints inside, illustrating his poem fragments. The combination of the abstract and the figurative is lovely and moving. Published during the war Showa 18 - 1943) in Tokyo, as part of the series SHOSO HANGACHO JURENSHU, it is very hard to find. This is a a clean, very good copy. Includes the original announcement for the JURENSHU series as published in one of the SHOSÔ magazine pamphlets. In a custom clasped chitsu case.

$4,500.00

 

 

 

Click for more images

43.ONCHI Kôshiro, artist. A Framed Collection of Woodcut Illustrations. After the war, Onchi Kôshiro 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. 

$2,500.00

 

Click for more images

44. ONCHI Koshiro, artist; Inoue Yasufumi, poet. Shishû UME. Fugaku Honsha, Shôwa 22 [1947]. #275 of 600cc, signed by Inoue, the author. 8vo, printed decorative wrappers, book designed by Onchi Kôshiro, frontispiece a woodcut designed by Onchi, as well. [Onchi Raissonne, #281, "Portrait of a Poet (Inner Image)"]. Wrappers foxed along perimeters and there is a bit of light foxing on the signed sheet, else clean and in very good condition.

$485.00

 

 

 

 

 

 

Click for more images

45. ONCHI Kôshiro, author & artist. UMI NO HYOJO. Tokyo, WKO Hanga Kenkyûsho, 1987. #9 of 20cc,, 42.7 x 37 cm. Portfolio of 17 prints and 20 poems on the topic "EXPRESSIONS OF THE SEA". Onchi Kôshiro had designed this album during the war, but when he attempted to get it published after the war's end, had no luck and abandoned the project. A few images from the carved blocks were pulled as an experiment and one, UMI NO MIERU MADO, appears in the British Museum collection with an interesting explanation. (See the description on their website.) In any event, long after his father's death, Onchi Kunio resurrected the project and printed the work in nearly complete form, as only 3 prints had remained unfinished. "Modern" as it is, its tiny limitation guarantees its place as one of the greatest rarities of the Onchi ouevre. In fine condition, in portfolio with a tan cloth covered clamshell case. In the original publisher's cardboard box.

$6,500.00

 

Click for more images

46.ONCHI Koshiro. [A BUILDING ON THE SHORE OF A POND] Oil on canvas, 33 x 45 cm. Dated "März 1921," with the word "Formasa" (i.e. Formosa), in pencil in the bottom right corner. It is unsigned; but its authenticity is attested to by Onchi's eldest son, Kunio, on a slip affixed on the reverse of the canvas, with his personal seal.

$4,750.00

Onchi is a renowned artist, primarily remembered as a printmaker, as the most important figure of the "Sosaku Hanga" movement, a poet, and book designer. Yet early in his career he received formal instruction in Western art, beginning in 1909, when he joined the Hakuba-kai (White Horse Society) and the oil painting curriculum at the Tokyo School of Fine Arts a year later. Onchi's knowledge of German, acquired earlier in his education when he attended the the Doitsu kyôkai chûgakkô (German Cooperative Middle School), may have given him access to early twentieth century German art. He acknowledged a special sympathy with contemporary German art and specifically cited the influence on his work of Edvard Munch and Wassily Kandinsky, artists in the German milieu who gave color and form emotional and evocative values. Despite his interest in Western art, Onchi never traveled to Europe or the United States, content to acquaint himself with contemporary developments through illustrations in books and magazines and Tokyo exhibitions of European art. 

This painting is a result of one of only two trips abroad taken by Onchi. It is from his first trip in 1920, when he visited his older sister and her husband in Taiwan, known then as Formosa and a Japanese possession. (Two other oil sketches he made on this trip are the basis of two wood-block prints from the 1930s, "The Side Gate of the Confucian Temple in Taiwan" and "East Gate of Taipei.") The painting is a loose network of fluid brush strokes in natural colors with blank areas of canvas and the weave of the cloth still showing. Onchi's oil paintings are seldom seen outside of museum collections, and then, mostly through reproductions, and rarely appear on the market. The date of 1921 on this painting establishes it as a late oil painting by Onchi because, with the exception of a large nude done in 1937, no records exist of other oils by him after the early 1920s. 

Reference: The Graphic Art of Onchi Koshiro, by E. Swinton.

 

 

Click for more images

47.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.

$1,400.00
 

 

Click for more images

48.ONCHI Koshirô, editor. A set of SHOSÔ Magazine (all but issue 79) 30 volumes. Tokyo, Showa 10-19 [1935-44] Aoi Shobô. [700cc?]. 8vo. in size, wrappers. This set consists of all but one volume of the 31 in magazine format of this, the premier journal dedicated to the book arts and graphics of its day, edited by the foremost artist and book designer, Onchi and filled with graphic and textual contributions by contemporary giants. In the original magazine wrappered covers. Shosô had some 103 numbers, but the majority were published in slender pamphlet format and we have here the more substantial magazines. Very scarce, especially in such an extensive, near complete run of the magazine. Very good condition overall.

$8,500.00

 

 

 

 

 

Click for more images

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

$1,850.00

 

 

 

Click for more images

50.ONCHI Koshiro. [A GROVE OF TREES] Oil on canvas, 45 x 33 cm. It is from a series of landscapes done in 1921. It is unsigned, but its authenticity is attested to by Onchi's eldest son, Kunio, on a slip affixed on the reverse of the canvas, with his personal seal.

$5,500.00

Onchi is a renowned artist, primarily remembered as a printmaker, as the most important figure of the "Sosaku Hanga" movement, a poet, and book designer. Yet early in his career he received formal instruction in Western art, beginning in 1909, when he joined the Hakuba-kai (White Horse Society) and the oil painting curriculum at the Tokyo School of Fine Arts a year later. Onchi's knowledge of German, acquired earlier in his education when he attended the the Doitsu kyôkai chûgakkô (German Cooperative Middle School), may have given him access to early twentieth century German art. He acknowledged a special sympathy with contemporary German art and specifically cited the influence on his work of Edvard Munch and Wassily Kandinsky, artists in the German milieu who gave color and form emotional and evocative values. Despite his interest in Western art, Onchi never traveled to Europe or the United States, content to acquaint himself with contemporary developments through illustrations in books and magazines and Tokyo exhibitions of European art. 

This painting is a loose network of fluid, rhythmic brush strokes in greens and earth tones with blank areas of canvas and the weave of the cloth still showing. It shows, perhaps, the influence of landscapes by Max Liebermann and Lovis Corinth, or even Ernst Ludwig Kirchner. Onchi's oil paintings are seldom seen outside of museum collections, and then, mostly through reproductions, and rarely appear on the market. The 1921 date of this painting establishes it as a late oil painting by Onchi because, with the exception of a large nude done in 1937, no records exist of other oils by him after the early 1920s. 

Reference: The Graphic Art of Onchi Koshiro, by E. Swinton.
 

 

 

 

 

 

Click for more images

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

$1,950.00

 

 

 

 

 

 

 

 

Click for more images

52.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 internally very good, but without its dustwrapper or slipcase with a worn and starting cover and priced accordingly. [Urawa, p.51]

$485.00

 

 

 

Click for more images

53.ONCHI Kôshiro. HON NO BIJUTSU. 1952. Large 8vo., 135pp., hand- bound By Sei-ensô in decorated leather. This is one of only 5 copies so bound of the entire edition of 1500 copies. Illustrated mostly in b+w, but with color plates. This is Onchi's seminal work on book design (the title translates as "book arts"); it includes his opinions on book aesthetics and a catalogue of his own extensive output of book designs. There is a bit of scant light foxing to some text leaves, but the illustrations are clean. Housed in (the original?) handmade paper-covered clamshell box. This is an essential work by arguably the most important book designer of modern Japan. 


$1,500.00
 
 
 
 

Click for more images

54.  ONCHI Kôshiro. LOVING SERVICE SEAL HANGA. 28.3 X 21.2 CM. Tokyo: The Central Community Chest of Japan, Inc., (1953). The front and back covers of this pamphlet are color woodblock prints by Onchi. There is a text folder inside by Onchi enclosing 10 small woodblock print seals by the noted "Creative Print" artists Kitaoka Fumio and Shinagawa Takumi, each captioned on a separate sheet. Extremely unusual work rarely found in any condition but here complete and very clean. One of the last works issued by Onchi. About fine condition, fine impressions and colors.

$875.00

 

 

 

 

 

 

 

Click for more images

55.ONCHI Koshiro. Onchi Koshiro Shibun-shû KISETSU-HYO. Tokyo: Aoi- Shobô. Showa 10 [1935]. This copy is #50 of only 50 deluxe copies from a total edition of 200. 3 full-page color illustrations by Onchi. Folio, 36 x 31 cm, printed on very heavy paper, bound in gilt-printed Japanese paper over boards. Besides the illustrations, Onchi wrote the poems in this collection and was responsible for the book's design. The text reproduces his calligraphy. The book is signed by Onchi and contains a photogravure portrait of him. Interestingly, it is rendered a unique copy by the fact that Onchi further presented the book to a "Saitô-shi" and wrote a poem dated January 1936 on the signature page.


This is the deluxe and only complete edition of this work, being bound in hard covers and having all three illustrations Onchi designed for it. Since the printer never intended for these deluxe copies to be read, each of the first 50 copies of the 200 that comprise the fukan (supplementary) edition, which was printed on kyokushi (Japanese vellum) paper with only one of the Onchi's color prints and issued in a portfolio, originally accompanied the correspondingly numbered copy of the deluxe issue as a "reading copy" - though our copy has parted ways with its fukan companion.

It is a tour de force of bookmanship, and the most elusive of Onchi's productions. Here in near perfect condition and with the Onchi poem brushed by him inside. [See Onchi, HON NO BIJUTSU, p 110].
$15,000.00

 

 

 

 

Click for more images

56.ONCHI Koshiro. Shikashû Anthology of Contemporary Japan NIHON NO HANA FLOWERS OF JAPANTokyo: Hongakusha, Shôwa 21 [1946]. Another Hongakusha work, this one is edited by Onchi Kôshiro, and many of the lovely woodcut textual illustrations are by him as well. Other artists include the important Creative Print movement figures Kawakami Sumio, Kawanishi Hide and Maekawa Sempan. The poets include Satô Haruo, Kitahara Hyakushu and Onchi, himself. An important work, near fine in the original woodcut printed wrapper (by Onchi). 

 

$985.00
 

 

Click for more images

57.ONCHI Koshiro. Shikashû NIHON SANSUI. Tokyo: Fugaku Honsha, Shôwa 21 [1946]. Edited by Inoue Tôbun, this wonderful illustrated collection of poetry on the natural beauty of Japan is a testament to the resiliency of Japanese culture, published as it was just a year after the end of the war. Creative Print movement artists were deeply involved in the Fugaku Honsha: Onchi Kôshiro did the binding (an original woodcut design), and Yamaguchi Susumu, Azechi Umetarô, and Maekawa Sempan contributed the color woodcut illustrations. The poets are distinguished, as well: Onchi, himself, Itô Sei, Kitahara Hyakushu, and many others. In fine condition, in a modern clasped chitsu case.

SOLD

 

 

 

 

 

ONCHI, TANAKA & HAGIWARA

 
 

Click for more images

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

The copy in hand suffers from some cracking along the hinges, edgewear and a few nicks. The dustwrapper is fragile and split along the edges and internally strengthened with tape. There are both censored and uncensored copies in existence. Ours has pages 103-108 excised for an offending erotic poem. I have examined images from three copies in collections besides this one and they all seem to suffer from the same weaknesses. Simply a very fragile book, printed in small numbers and very difficult to find.

$16,000

 

 

 

Click for more images

59.[PAPER, JAPANESE]. Mingei-gami KUREHA. [Kyôto] Showa 32 [1957] Oblong folio, in brocade covers with printed paper title label, 25.9 X 40.3 cm, oblong. There are 30 pages of silk-mounted paper samples of color stencil-dyed patterned paper, one or two to a page. In a tied chitsu folding box. Superb quality. For all intents and purposes, a lost art.

$750.00

 

 

 

 

 

Click for more images

60. [PAPER SAMPLES]. TÔSEI SHINKOMON HONCHÔ. String-bound, Japanese -style, fukuro-toji. 28 X 21 cm, with 138 designs on 23 pages (6 per page). Stencil-printed "komon" designs. The blindstamped patterned covers are lovely and subtle. Interesting, skillfully printed tiny repeating pattern designs of white dots on black. Overall the condition is about good.

$950.00

 

 

 

 

Click for more images

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

$3,250.00 

 

 
 
 

Click for more images

62.[Papermaking, Korean] Gotô Seikichirô. KANKOKU NO KAMI. Tokyo, Gohachi, Shôwa 55 [1980]. Orihon folding album (24 x 18.3 cm) in block-printed paper covers. Number 12 of a limited edition of 150 copies and is signed and sealed by Gotô, certainly the most important historian of East Asian papermaking in the post-war era. It is one of the few works ever done on Korean papermaking, and is the third in a three part series on Asian papermaking undertaken by Gotô in the late 1970's, though it is complete in itself. The book contains one paper sample, 21 stencilled plates, and informative text (in Japanese) all on lovely rough brown handmade paper. It is as new in a printed white paper covered folding case.

$550.00

 

 

 

 

Click for more images

63.[PAPERMAKING] SERIZAWA Keisuke. KAMI WO TSUKURU HITOTACHI. Privately printed by Serizawa in Shôwa 25 [1950] in an edition of 50 copies. 30 x 28 cm. 7 pages, katazome prints in wrappers with a printed paper title label. Enclosed in a hand printed folding cover which is a work of art in itself. Obviously a very scarce production, this copy has been scrupulously restored. Overall condition is now very good.

$1,850.00

 

 

 

 

 

 
 

 

 

 

 

 

Click for more images

65.[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 

 

 

 

 

 

Click for more images

66.SATÔ Haruo, author; HAZAMA Inosuke, artist. E-iri MIYOKO. Seikadô, 1933. String-bound, Japanese-style, fukuro-toji, blind- patterned brown paper covers with a printed paper title label. 18 paginated bifold leaves and one unpaginated. Ltd. edition, number 442 of 500 copies. A b+w woodcut frontispiece of the author and 4 color woodcut plates by Hazama, a Western-style painter and printmaker who had studied under Matisse in France. A lovely production of this work by the important Satô. Overall a very nice copy.

$650.00

 

 

 

 

Click for more images

67.SEKINO Jun'ichirô, artist. RYÔMEN NO KAGAMI. #68 of 182 copies. With many color woodblock illustrations and prints by the great sosaku hanga printmaker, Sekino Jun'ichirô. Signed by the artist. All in the publisher's box and outer paper wrapper. Very fine condition copy of this charming book, done for a child. The carved and printed text is in both Japanese and English.

SOLD

 

 

 

 

 

 

Click for more images

68. SEKINO Junichiro. NIHON NO KAIDÔ JAPANESE STREETS. Tokyo, 1978, Asahi Shimbunsha. #4 of 60 cc. Large square 4to., Red cloth covered boards, black leather spine, with red cloth-covered tied portfolio, all in clasped red clamshell box. The bibligunal text of the book describes Sekino's series, the portfolio contains 3 original signed and numbered (1 of 60cc) prints by the master - one a woodcut, one a copper engraving and the last a stone lithograph. Like new, as published.

$2,250.00

 

 

 

 

 

 

Click for more images

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

$750.00

 

 

 

 

 

Click for more images

70.SERISAWA Keisuke, artist. KATAZOME SHÔHINSHÛ 1. Osaka, Moriguchi Tarô, 1954, Shôwa 30 [1955]. 27 x 22.7. Mounted katazome stencil prints by their most famous 20th century practitioner. This volume one was printed in an edition of 100 copies. Orihon folding albums in stiff cover. The books themselves are very good, no slipcase. The "shôhinshû" collection of small works (exlibris, matchbook covers and the like) eventually ran to 4 volumes.

$450.00 

 

 

 

 

 

Click for more images

71.SERIZAWA Keisuke, artist. KATAZOME RINBYÔ, 2 vols. Tôkyô, Gohachi. #134 of 230 copies. 2 folding albums, 18.2 x 15.0 cm., 81 wonderful colored stencil designs, formatted to a size and shape appropriate to matchbox covers. Serizawa again illustrates his skills in design. In perfect condition, in the original clasped clamshell box and outer publisher's box.

$650.00

 

 

 

Click for more images

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

$1,250.00

 

Click for more images

73. 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.

SOLD

 

 

 

 

Click for more images

74.SERIZAWA Keisuke. EHON DON KIHOUTE. Mukômachi: Sunward Press, Shôwa 11 [1936] #19 of 25 of 100cc. 28.7 x 20.7 cm String-bound Japanese style in lacquered, printed paper covers, done by Suzuki Shigeo. Enclosed in the publisher's patterned cloth-covered chitsu clasped case. Perhaps the finest and most important Creative Print Movement illustrated book of the 20th century and a cornerstone for any collection of Japanese ehon. The Japanese colophon inside the book reveals this example was part of an extra 25 copies printed specifically to be shipped abroad. The book was commissioned by Carl T. Keller, the collector of Don Quixote material and illustrated with 31 hand-colored "stencil-engravings" [katazome], by the master Serizawa, later named a Living National Treasure. The covers, being lacquered, are subject to cracking with any use. This copy is amazingly unblemished, with only the slightest cracking along the hinge line. The chitsu case is complete and very clean with the original clasps. A lovely production, virtually unobtainable, in remarkable condition.

$19,500.00

 

 

A JAPANESE DON QUIXOTE

Click for more images

75. SERIZAWA Keisuke. Shinpan EHON DON KIHOUTE. Tôkyô, Gohachi, Shôwa 51 [1976]. Large color stencil printed ehon based on the story of Don Quixote, done as a "new version" 40 years after Serizawa's original version. The scale, the images, all are quite different from the first version. This is number 157 of an edition of only 185 copies and the edition sold out very quickly. A monumental work with 31 full-page illustrations, not counting the preliminaries and finals and the stencil-printed text. the book itself is some 40.3 by 36.5 cm and it is further enclosed in a publisher's decorated wooden box and shipping box as well. With the slim explanatory volume issued with it, thus complete. There is but the faintest of occasional foxing, truly a beautiful work, a masterpiece of post-war Japanese livre d'artiste book production. Signed by Serizawa.

$4,500.00 

     

 

 

 

 

Click for more images

76. SERIZAWA Keisuke. YOKUJO, Tokyo, Gallery Gohachi, Shôwa 43 [1968]. #38 of 100cc. 26.6 x 22.5 cm. Yellow paper over board covers. 10 small stencils in Serizawa's inimitable style of women bathing. Hand-stenciled and hand-colored by Serizawa, with his stenciled initials on the title page. In the original red cloth chemise, all in the original outer cardboard box with printed title label. Fine throughout.

$2,500.00

 

 

 

 

 

 

Click for more images 

77.[Sketch Tour Book] Starr, Frederick. SANYÔ ANGYA. TÔKAIDÔ ANGYA. Tokyo: Bunen'dô, Taishô 8 [1919] 6th printing (the first printing appeared in 1917). Small 8vo., 18 x 10.5 cm, woodblock printed paper over flexible boards. Includes 27 b+w full page woodcuts, many textual ills, 7 photo plates and a total of 11 full page color woodblock plates by Akamatsu Rinsaku, Noda Kyûhô, Hata Tsuneharu, Mizushima Nihofu and Nagai Hyôsai. Those 5 artists had earlier in 1917 collaborated on Bunen'dô's ambitious HANSHIN MEISHÔ ZUE. Nakazawa Hiromitsu and others were also involved with Starr's work, which is a compilation of travel articles on Central Japan originally done for the Osaka Asahi newspaper. [For more information, refer to Scott Johnson's article in ANDON 37, p. 30]

This copy is very good in a rubbed original slipcase, which is illustrated with color woodcut. Unusual in any event, particularly so in such nice condition.

$475.00

 

 

 

 

Click for more images 

78.[SKETCH TOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI. Kyoto, Kanao Bun'endô, publisher. Shôwa 21 [1946]. Oblong folio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijirô and the printers were Nishimura Kumakichi and Takagi Kiyomitsu. This portfolio project was initially completed and printed in 1925. This edition, printed from the same blocks at the very end of Kanao's life, was obviously issued as a companion piece to the THIRTY-SIX VIEWS OF OSAKA, which Kanao also published in 1946. The colors of the original 1925 edition were quite a bit more light and "crumbly" than the bolder colors used in this printing, which accord with that used in the Osaka series. (I personally like this bolder approach to Hiromitsu's work.)

There are eleven color woodblock printed preliminary pages, a table of contents page, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the pilgrimage sites, (in Japanese).

A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre.

A set in very nice condition, bound into the original printed covers (approx. 25 x 36.7 cm). Complete, in a tied chemise case.

$3,250.00

 

 

 

  

Click for more images

80.[SKETCHTOUR BOOK]. JÛNIN SHASEI RYOKÔ Tokyo: Kashima Chôjirô [Kôbunsha], Meiji 44 [1911]. Printed paper over boards, cloth spine, gilt. Small 8vo., 19.3 x 12.8 cm. See Johnson's article in ANDON p. 15 for an extensive description of this book's importance. With 10 zincographs, 2 lithographs, 18 photo-lithographs and 4 color woodcuts, along with many halftones, both b+w and color. An important and interesting book, which centers on verbal and pictorial representations of the Inland Sea area. The artists (and authors) were Kawai Shinzô, Ôshita Tôjirô, Mitsutani Kunishirô, Yoshida Hiroshi, Nakagawa Hachirô, Kosugi Misei, Nakamura Fusetsu, Kanokogi Takeshirô, Takamura Shimpu and Ishii Hakutei.

The binding is a bit cocked. The contents very slightly foxed. But overall this is a very good copy of this hard-to-find work, here in the third impression, issued three months after the first. In the worn original decorated clamshell box.

$575.00

 

 

 
 

Click for more images

81.[SKETCHTOUR BOOK] KANAO Tanejirô, publisher. KINAI KEMBUTSU. 3 volumes: YAMATO, KYOTO, and OSAKA. 22.8 x 15.4. (Larger than most examples of the genre.) Bound western style in printed paper covered boards (without the printed slipcases). T.E.G. For details on the importance of this work, see Scott Johnson's article in "ANDON 37", pp.21-25. Aside from one foldout color woodcut and a few reproductions of paintings by Asai Chû, the illustrations are by Nakazawa Hiromitsu (1874-1964), probably the most important single artist of the "sketch-tour" genre. There are a grand total of 57 hand-printed woodcuts in the three volumes, as well as many collotypes and half-tones. Nakazawa, himself, as well as such literary lights as Yosano Akiko, the famous poetess, provided the text. This set consists of a first printing of the Osaka (1912) volume and second printings of the Kyoto and the Yamato volumes. The printing runs were very small and the book never sold particularly well (the third volume cost three yen, a considerable sum in 1912!). Complete sets are unusual. Our set is very lovely, save that there is a bit of fading, rubbing and skinning to the covers. Enclosed in a contemporary clasped chitsu.

$1,250.00

 

 

 

Click for more images

82.[SKETCHTOUR BOOK] KINAI ANGYA. Kanao Bun'endô, Taishô 8 [1919] Thick 8vo., flexible printed pictorial covers, 35; 959 + colophon & ads. (The extensive ads make up a useful bibliographical resource on Bun'endô.) First printing of this interesting work - the artists include Nakazawa Hiromitsu, Mizushima Nihou, Nabei Katsuyuki, Katô Seiji, Shima Seien and Yamaguchi Sohei. The writers are an eminent group: Yosano Akiko, Kambara Ariake, Takahama Kyoshi, Katô Hekigotô and Aoki Gettô. The book resenbles the SANYÔ ANGYA and the OFUDA ANGYA. With the usual Bun'endô eclectic mix of color woodcut, lithography, halftone, zincograph, collotype, etc.

This copy is very slightly foxed, with the original slipcase. Overall, a lovely copy of this important and scarce work.

$650.00

 

 

 

 

 

Click for more images

83.[SKETCHTOUR BOOK] Mizushima Nihô, artist and author. TOKAIDO GO- JUSAN TSUGI SETONAIKAI KIKO. Tokyo: Kanao Bun'endô, Taishô 9 [1920]. First Printing. 8vo. Printed paper over boards, cloth spine, gilt. With many color and b&w illustrations done in several media [for details see Scott Johnson's article in ANDON]. Very nice condition in the worn original printed slipcase. Complete as issued.

$875.00

 

 

 

 

 

 

Click for more images

84. [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:

$2,250.00

 

 

Click for more images

85.[SKETCHTOUR GENRE] Kanao Bun'endô, publisher. HANSHIN MEISHO-ZUE A folding album of 24 (of 30) prints - ôban size color woodcut, printed by Nishimura Kumakichi and published by Kanao Bun'endô in 1916,17. The finest of all of Bun'endô's remarkable porfolio productions, The HANSHIN MEISHO ZUE is a great rarity, even individual prints from the series of 30 are by no means common. We are missing only prints #7, 21-25 (6 in all).

There are two prefatory pages, one is a map of the trip around western Japan depicted herein, the other a table of contents. Also, one of the Akamatsu Rinsaku designed portfolio cover prints has been mounted as preface to the whole series, while four others have been trimmed and mounted on two pages at the end.

The artists who designed the prints were Akamatsu Rinsaku (1878-1953), Noda Kyuhô (1879-1971), Hata Tsuneharu(1883-? ), Mizushima Nihou (or Nihofu) (1884-1958) and Nagai Hyosai (1882- 1945).

For more on this remarkable work, see Charles Mitchell's article in ESSAYS ON JAPANESE ART PRESENTED TO JACK HILLIER. Our copy is very clean in a new brocade over stiff paper covers with a hand-brushed title label. There is a bit of foxing, but it is confined to the stubs upon which the prints are mounted. The images themselves are lovely and extremely well-printed.

$6,500.00

 

 

 

Click for more images

87. [SKETCHTOUR GENRE] Otani Sonyû & Iguchi Kashû, artists. TOKAIDO GOJUSAN-TSUGI EMAKI Kyoto Taisho 11 [1922].

 Eight handscrolls with woodcut coloring over collotype, complete. The scrolls have bone jiku with brocade covers and sumi over gold title labels.

It goes without saying that the price of 500 yen (at the time worth about US$200 in gold), a shocking amount, was reflective of the enormous costs associated with the project. The use of collotype as the "shita-e", then over-printing with heavy opaque mineral pigments time and again to derive the rich palette of the finished scrolls was not a method conducive to economy. The publisher went bankrupt soon after the appearance of the Tokaido set. One can only assume that the Kanto earthquake destroyed most of the sets that had been sold to the main market, Tokyo. Research indicates that there are very few sets in existence. Our copy is enclosed in its original black lacquer box, gilt with the title and is complete as such in a protective outer box. The lacquer box is perfect and the scrolls are in fine condition, with very occasional minor foxing. Literally hundreds of feet of remarkable images. (See Roger Keyes' extensive description of this major discovery in his catalogue of the recent NYPL exhibition of EHON.)

$27,500.00

 

Click for more images

88. [SOSAKU HANGA] KAWAKAMI Sumio. RANPU [LAMP]. Tôkyô, Aoi Shobô, Shôwa 15 [1940]. #152 of 250 copies, brush-signed by Kawakami (1895-1972). 28.2 x 20.0 cm String-bound Japanese-style, fukuro- toji. Illustrated throughout in color woodblock, the covers and wraparound are also color printed woodblock prints. With the original printed title label. About fine condition throughout. Perhaps the most iconic of all the many ehon produced by Kawakami, who, along with Onchi and Taninaka, is probably among the most important of all the "Creative Print Movement" artists (apologies to Hiratsuka, Ishii, Munakata, Kawanishi, etc., etc.). A very nice copy of a very delightful book. The fanciful scenes of a vividly remembered late Meiji childhood are wonderful.

$3,250.00

 

 

 

 

 

Click for more images

89.[SOSAKU HANGA] Maekawa Sempan. KANCHU KANPON 27 volumes. Nihon Aisho-kai, Shôwa 20-35 [1945-60]. Small, 16.6 x 9.1 cm, woodblock printed livre d'artiste series. #113 of 150 copies printed. Complete. Charming color woodblocks throughout. Signed by Sempan (1888-1960), one of the most important of all the mid-century Creative Print Movement artists. Each book is in its original printed dustwrapper fukuro and included with the set are the three printed cloth wraparound fukusa in which the set might be enclosed, dyed by the Living National Treasure, Inagaki Toshijirô. With ancillary brochures and notes, a pristine set of these livre d'artiste, complete. Helen Merritt translates the title as LEISURE TIME LEISURE BOOKS.

$4,850.00

 

 

 

 

Click for more images

90. [SOSAKU HANGA] ONCHI, Kôshirô, artist & author. UMI NO DÔWA. Tokyo: Hanga-sô, Shôwa 9 [1934]. Self-wrappers in glassine, 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. This copy has scarcely any of the usual foxing. It is near fine, with the original price band, the latter being very unusual. It is also inscribed by Onchi, the only inscribed copy we have ever seen.

$5500.00

 

 

 

 

Click for more images

91.[SÔSAKU HANGA] KATÔ Tetsunosuke, artist. HOKKAIDÔ FÛKEI TEZURI HANGA SHÛ. Published by the Sapporo Kankô Kyôkai. [Sapporo Tourism Association). A folder, bound in grass cloth containing 5 handprinted color woodcuts (image size: approx. 10 x 14.5 cm) of landscapes around Sapporo, done in an elegiac and realistic style of sôsaku hanga. This folder was probably published in the 1930's, when Katô was most active. (He is best known in this country for the lovely landscape watercolors he did, signed "T. Kato") Though little is known of him, Merritt, in her most recent survey, does mention his participation in sôsaku hanga groups at the time.

This work is in very good condition, and the prints themselves are quite skillful. Appears to be complete, as the only other copy I've found reference to also had five prints:

$650.00

 

 

 

 

 

Click for more images

92.[SÔSAKU HANGA] KAWAKAMI Sumio. HIRADO CHIKUSHI. Kawakami Sumio, Shôwa 41 [1966]. Bound Western-style, 23.3 x 18.2 cm. Text and illustrations printed in silver ink on black glossy paper. In unusually good condition as this production usually suffers from flaking of the ink, but this copy does not. This is #31 of a run of 50 copies, signed by Kawakami. In the original tissue and publisher's box. Very fine.

$1,250.00

 

 

 
 
 

 

Click for more images

93. [SÔSAKU HANGA] Kawakami Sumio. KAWAKAMI'S HENNA READER. Tôkyô, Shôwa 9 [1934]. Hangasô. 19.5 x 12.9 cm. String-bound. 15 delightful illustrated English lessons in Kawakami's inimitable visual and textural idiom. Machine printed by Hangasô. Very unusual pre-War Kawakami item in fine condition.

$685.00

 

 

 

 

 

Click for more images

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

$1,250.00

 

 

 

Click for more images

95.[SÔSAKU HANGA] OKAMURA Kichiemon, artist. MANYÔ SHIKI HANA ZUKUSHI. 32.3 x 20.3 cm Privately printed in the fall of Shôwa 19 [1944] by the artist using kappazuri stencil printing. String-bound Japanese-style, fukuro-toji. Printed paper title label. About fine condition. #42 of 100 copies.

$475.00

 

 

 

Click for more images

96.[SÔSAKU HANGA] SEKINO Jun'ichirô. GAIYÛ DÔBUTSU HYÔ. Tôkyô 1962., Oblong western-style binding in boards, 18.7 x 26.2 cm. Illustrated with color woodblock prints after Sekino designs throughout. #12 of 250 copies, signed by Sekino. Fine in the original publisher's box with printed paper title label.

$450.00 

 

 

 

 

 

Click for more images

97.[STENCIL PRINTING] SERIZAWA Keisuke; YOSHIDA Kogor. KIRISHITAN MONOGATARI. Tôkyô, Gohachi, Shôwa 60 [1985]. Bound Western-style in wrappers, large 26.7 x 26.3 cm album of b+w stencil prints by Serizawa illustrating a brief text by Yoshida, a famous scholar and historian. Pictorial vignettes of the 16th century introduction of Christianity to feudal Japan. One of 200 copies. In about new condition, in the original wraparound cover with a printed paper title label and shipping slipcase.

$450.00

 

 

 

 

 

Click for more images

98. TAKAHAMA Kyoshi, editor.  SASHIE. Tôkyô, Kôkadô, Meiji 44 [1911]. This is a "saihan" printed a few days after the first impression. Bound Western style in illustrated boards, 8vo., 421+pp. This wonderful book takes its title [ILLUSTRATION] very seriously. It has crammed from beginning to end with illustrations, both color and b+w, printed with machine-based techniques but with a freshness and appealing naivete that the HOTOTOGISU artists were famous for. The full complement of the most important members of the literary and artistic group that first gathered around Masaoka Shiki. After Shiki's premature death the brilliant poet Takahama Kyoshi and academic and author Natsume Sôseki became the leaders of the group. Such wonderful and established artists as Asai Chû and Nakamura Fusetsu, along with younger artists, Hashiguchi Gôyô, Tsuda Seifû, etc., were also allied by sympathy and friendship with the group. Here they have put together a wonderful compilation of their "style" in illustration. The integration of text and image is, of course, traditional and was an essential part of the HOTOTOGISU ethos. There also was an acknowledgement of an adaptation of the traditional bunjin ideal of the educated polymath, who could participate in a cultural continuity by his skill with the brush: be it in painting or calligraphy or poetry or literature. But there was no fustiness involved. Sôseki was a brilliant student of English literature, a poet in classical Chinese, a traditional watercolorist, a noted calligrapher. Iwanami Shigeo, a member of the group, was also the founder of the most important scholarly publishing house in Japan, then and now. Asai Chû was one of the most important Western-style oil painters in Japan in the late 19th century who was also a brilliant designer. The list goes on and on. To page through this book is to discover a circle of friends able to adroitly balance the past and the present to face the future. In a very practical way, these intellectuals were as important to the development of a strong and independent Japan in the 20th century as any general or politician, perhaps more important. This is by no means a common book. There is a bit of foxing throughout and the illustrated slipcase is a bit soiled and worn, but it is still a wonderful artifact of its time.        

  $1,500.00

 

 

 

Click for more images

99.(walking bird press). KAFKA, Franz. THE GREAT WALL OF CHINA. Translated by Ian Johnston. Illustrated by Duncan Major. (Flatrock, Newfoundland and Labrador, 2016-2017). This is number 3 from an edition of 75 numbered copies signed by Tara T. Bryan, of walking bird press, and illustrator Duncan Major. Printed on Double Xuan paper and bound in traditional Chinese jingzhe zhuang style, that is two long sheets of paper, each printed on one side only, bound back-to-back and folded as a concertina between two boards. 92 3/4 by 13 1/2 inches folding to 13 5/8 by 6 3/4 inches between brown cloth-covered boards, each with a printed paper label inset. Printed on one side is Kafka's short story, written in 1917 but first published posthumously in 1931, followed by a short essay by Vihanga Perera, "Kafka's 'Great Wall of China': a Parable of Hegemony and 'Nation Building,'" written in 2013. On the other side are Major's linocut illustrations printed in black, gray, and red, an undulating panorama of mountain peaks and wall amid swirling clouds. As new.

$385.00

 

 

 

Click for more images

100.[CREATIVE PRINT MOVEMENT] KANAMORI Yoshio. KOZAN. Nihon Aishokai, Shôwa 45, signed by Kanamori. Number 135 of 150 copies. Huge western bound folio, 45.9 x 31.7 cm. Each of the 15 color woodblock illustrations is double page - and are in consequence remarkably large and therefore difficult to print. Quite a tribute to the ongoing skill of the woodblock printers in Japan, even 25 years after the end of the war. Very fine condition throughout, in the slightly torn dustwrapper, which also has a color woodcut mounted on it. All in a clasped chitsu case.

$1,750.00

 

 

 

 

 

Click for more images

101.[CREATIVE PRINT MOVEMENT] Hiratsuka Un'ichi. KÔYÔ KUYÔ Hiratsuka Un'ichi Shôgashû. Signed by Un'ichi, numbered 12 of 300 copies. Published by the important NIHON AISHOKAI group. Shôwa 17 [1942] Small 8vo., Bound western-style in paper-covered boards. There are 12 wood-engraved illustrations and other devices within, as well as wood-engraved illustrations on the cover and dustwrapper. In near perfect condition, unusual for such an ephemeral item published during the Pacific War. Un'ichi is one of the seminal members of the Creative Print Movement. The amount of artistic activity conducted by individuals and artist groups during the war is quite remarkable.

$675.00

 

 

 

 

 

Click for more images

102. [Shin Hanga Portfolio] Nakazawa Hiromitsu, artist. NIHON TAIKAN. [Views of Japan] Tokyo: Bun'endô, 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, in the original printed box, all in a clasped modern folding box. This massive work was undertaken by Kanao Tanejirô of the Bun'endô as a challenge to the primacy of Watanabe in the field of shin hanga. 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 Nakazawa Hiromitsu. Hiromitsu's work is at its best, here. Less stiff than that of Hasui or even Yoshida, it carries the re-creation 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 landscape productions is also among 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.

This set of prints is very clean, though the original box is worn and rather broken and the introductory material is quite foxed. Rare:

$7,500.00