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JAPAN AND ASIA 

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1. [ADVERTISING - EARLY 20th CENTURY COMMERCIAL LABELS]. A CONTEMPORARY COLLECTION OF HUNDREDS OF LABELS ADVERTISING A VARIETY OF JAPANESE POTABLES: FRUIT SYRUPS, SODAS, SAKE AND WINE, EVEN COGNAC AND GIN, ETC. Brilliantly colored labels are tipped-in to three commercially manufactured scrapbook albums. The albums are bound in heavy card stock covers with "scrap book" printed on upper boards and spines. 29.8 x 21 cm. 48; 46; [86] pp. The first two albums are just about full; while the third album is about one-third full. 438 labels are artfully arranged across the pages of the three albums. The labels vary greatly in shape and size, from a small circular label that is 3 cm in diameter to a large rectangular label that is 19 x 26 cm. Of course, the majority of labels fall somewhere between those extremes. Most of the beverages advertised are of Japanese manufacture with only a handful of labels advertising imported beverages. Assembled by a collector in Japan. Very clean and bright condition throughout. $2,250.00

 

 

2. [ADVERTISING] SUZUKI Nagai, editor. Shirôto ni mo Kantan ni mo dekiru KAKUSHU KANBAN SÔSHOKU NO TSUKURIKATA PRACTICAL METHODS OF BUILDING UP VARIOUS SIGNS AND DISPLAYS. Tokyo: Seibundô Shinkôsha, Shôwa 13 [1938]. Oblong printed wrappers. 18.8 x 26 pp. 32pp+. Sign design for the amateur. Good condition. $125.00

 

 

3. [AINU] HATTORI Shiro, editor. AINUGO HÔGEN JITEN. Tokyo, Iwanami Shoten, 1964. Large 8vo., dark green cloth, 556+ pp. Important dialect dictionary of the Ainu language. Written in Japanese. About fine in publisher's slipcase. $145.00

 

 

4. [Auction Catalog]. COLLECTION JACQUES DOUCET. Paris, 1930. Catalog of East Asian materials including scuplpture, ceramics, decorative tile and other works from Japan, China, and Persia. Includes 32 illustrated plates in addition to item descritions. Spine cover is absent and pages almost completely disbound. A fair copy. $85.00

 

 

5. BENAZET, ALEXANDRE. LE THEATRE AU JAPON. SES RAPPORTS AVEC LES CULTES LOCAUX. Paris: Leroux, 1901. 294p. 8 black and white plates as well as numerous other illustrations. Missing front board and spine cover, rear board detatched. Binding is tight. Bears several ownership stamps from Faculte des Letters de Paris. As is. $50.00

 

 

6. [BIRDS & FLOWERS] Imao KEINEN. KEINEN KACHÔ GAFU. Kyoto: Tanaka Jihei. Meiji 24-25 [1891-2]. 4 vols., each approx. 35.5 x 25.1 cm. Stringbound, fukuro-toji, Japanese style. Vol.1 [Spring] has 31 color woodblock prints of birds and flowers, of which 7 are huge double page prints. Vol.2 [Summer] has 32 plates, of which 8 are double page. Vol.3 [Autumn] has 38 prints, of which 4 are double page. Vol.4 [Winter] has 34 plates, of which 4 are double page, and one is a four page spread.

These original Tanaka Jihei issues (which preceded the Unsôdô versions) have become quite scarce, complete sets even more so, and sets with the western number captioning (the true first printing) almost impossible to find. The covers are original, with the titles directly printed there and the gold flecking. The summer issue has a single worm track in the margins, else it and the other volumes are impeccable, the printing excellent, the colors subtle and lovely. The nicest set we have ever handled. All in a clasped chitsu case which itself is quite rough. 4 vols., complete as issued by Tanaka Jihei, very unusual thus. $9,500.00

 

 

7. [BIRDS & FLOWERS] Tsuchida EISHÔ, Takeuchi SEIHÔ, artists. EISHÔ HYAKUCHÔ GAFU. 4 vols., complete, 22.7 X 33.1 cm., Kyoto, Unsôdô, Taisho 3, 3, 12, 14 [1914, 14, 23, 25]. Profusely illustrated set of images of birds, often quite surreal renderings, ostensibly after design by Tsuchida Eishô, the mid-19th century painter, here re-interpreted by Seihô, the 20th century master, and subtly printed by the Unsôdô. Very unusual work, complete in a clasped chitsu case. Very good colors, impressions, condition. A brief notice can be seen at Mitchell, p. 249, referencing Brown, p.202. $6,850.00

 

 

8. [BIRDS & FLOWERS] Yanagisawa KIEN, artist. YANAGI SATOTOMO CHÔRUIFU. Kyoto: Yamada Unsôdô, Shôwa 3 [1928]. Oblong portfolio, 27.7 x 36.4 cm, introductory text and table of contents, followed by 22 color woodblock prints after works by Yanagisawa Kien [1706-58], the important "Chinese-style" painter. Printed by the foremost color printer of the day, a lovely collection of bird prints. The original portfolio has been repaired, the prints are very good. An unusual item. SOLD

 

 

9. CHAMBERLAIN, Basil Hall. TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN. Vol X Supplement. Tokyo: Asiatic Society of Japan, 1906. Reprinting of 1882 edition. Missing spine cover. Front board detached. All edges gilt with gilt title to front board. Rare. A good copy. $50.00

 

 

10. [CHILDREN'S TOYS] KAWASAKI Kyosen. Kyosen Manpitsu OMOCHA HAKO. 2 vols., Ôsaka, Taishô 13 [1924], Oblong orihon folding albums, cloth over board covers, brushed paper title labels. 21.7 x 27.7 cm. Table of contents and a total of 100 color woodblock printed images of traditional Japanese children's toys. Wonderfully well printed and internally clean. A bit of wear to the covers. A very unusual example of Kyosen's [1877-1942] extensive work in the field of folk toys. Complete. SOLD

 

 

11. [COMMERCIAL DESIGN] ONCHI Kôshiro, SUGIURA Hisui, et al. SHÔGYÔ DESAIN ZENSHÛ 2 PR-hen. Tokyo, 1951. 26.2 x 18.5 cm. Bound western-style in cloth, with original slipcase. Onchi, Hisui, Yamana Ayao, Wada Sanzô and many others, a virtual who's who of art and design in mid-century, were involved either as consultants or editors in the creation of this series and commercial art. This is the publicity volume, heavily illustrated throughout with publicity campaign advertising, commercial and political, from around the world. There are also articles written by giants like Onchi on such subjects as book design. Provides a fascinating glimpse of the early post-War world. About good condition, some loosening of the pages, but none are actually detached. Volume 2 of 5 published in the series. $325.00

 

 

12. [COMMERCIAL DESIGN] ONCHI Kôshiro, SUGIURA Hisui, et al. SHÔGYÔ DESAIN ZENSHÛ 3 Shôhin-hen. Tokyo, 1951. 26.2 x 18.5 cm. Bound western-style in cloth, with original slipcase. Onchi, Hisui, Yamana Ayao, Wada Sanzô and many others, a virtual who's who of art and design in mid-century, were involved either as consultants or editors in the creation of this series and commercial art. This is the product volume, heavily illustrated throughout with product campaign advertising from around the world. There are also articles written by professionals like Hara Hiromu on such subjects as packaging design. Provides a fascinating glimpse of the early post-War world. About good condition. Volume 3 of 5 published in the series. $350.00

 

 

13. [CREPE PAPER BOOKS] Kate James. Japanese Fairy Tale Series, No.14 THE PRINCES FIRE-FLASH AND FIRE-FADE T.Hasegawa: #2 Minami Saegi-chô Tokyo, Meiji 20 [1887], Early printing. Small format, 15 x 9.8 cm, creped paper fairy tale, trimmed all around. A bit of damage to the foredge and the front cover spine, else good. The ties are missing, probably extracted from a western rebinding. $110.00

 

 

14. [CREPE PAPER BOOKS] Kate James. Japanese Fairy Tale Series No.18 THE OGRE'S ARM. Hasegawa: #3 Maruya-chô, Tokyo, Meiji 22 [1889]. Small format, 15 x 10 cm, crepe paper fairy tale, the string binding is missing, the book is trimmed, probably extracted from a western re-binding. Internally clean, very good impression. The Maruya-chô address indicates this is a very early printing.SOLD

 

 

15. [DESIGN BOOKS] 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. $7,500.00

 

 

16. [DESIGN] City of Kyoto. Kyotô-shi Shusai Daigo-kai ZUAN TENRANKAI ZUROKU. Kyoto, Shôwa 16 [1941]. 29.4 x 20.6 cm, string-bound, printed title on front cover. Hundreds of collotype illustrations from the 5th design exhibition, sponsored by the city of Kyoto. A little of this and a bit of that, in a congeries of styles. Everything from traditional floral designs to submarines, including an interesting and quite extensive section of posters. Very good condition overall, very unusual. SOLD

 

 

17. [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. SOLD

 

 

18. [DESIGN] HIRABARA [Norifumi?], editor. IRO TO KATACHI 23 (of 25) volumes. Tokyo: Iro to Katachi-sha, Shôwa 12 - Shôwa 14 [1937-39]. Volume nos. 2-18, 20-25. Small pamphlet-sized wrappered periodicals, 19 x 13 cm., ranging in size from some 22 pages to 48 pages apiece. As the title "COLOR AND SHAPE" indicates this monthly publication attempted to enhance the scientific background of design in Japan with scholarly articles aimed at professional designers. The pamphlets are in very good condition, enclosed in the original publisher's slipcase - which must have appeared when the set was complete - that lacks the spine panel. Very unusual. $625.00

 

 

19. [DESIGN] Kamisaka Yoshitaka [SEKKA]. Bekkô Kyôzome MIYAKO NO OMOKAGE. Kyôto, Tanaka Jihei [BUNKYÛDÔ], Meiji 23 [1890]. 23.7 x 16.7 cm, string-bound, Japanese-style, fukuro-toji. Design-printed paper covers, printed title label. 54 pages of color-printed designs for kimonos. This appears to be the first separate work containing the designs of Kamisaka Yoshitaka, later to be known as Sekka, published when he was but 24 years old. Sekka was, of course, the greatest representative of the Neo-Rimpa style and its progenitor, and has to be considered one of the greatest designers of the 20th century in Japan and the world. This earliest of his works is extremely scarce. In very good impression and colors, very clean condition. SOLD

 

 

20. [DESIGN] Kawarasaki KÔTÔ, designer. KIKU HYAKUSHÛ [One Hundred Aspects of the Chrysanthemum]. Kyoto: Uchida Bijutsu Shoshi, 1936. 2 volumes, 23 x 33.4 cm, accordion-bound in printed paper-covered boards with paper labels. There are 121 color woodblock-printed images in the two volumes (several to a page). They are wonderfully well printed, and the designs are lovely. Overall the condition is near fine, bright and clean. The volumes are enclosed in the original green cloth folding box with a paper label. An excellent production of its genre, with bold colors and compositions, highlighted by metallic inks. One of the best of the Kôtô/Uchida collaborations. SOLD

 

 

21. [DESIGN MAGAZINE]. TEIKOKU KÔGEI Vol.11, #12. Tokyo, Shôwa 12 [1937]. 25.7 x 19 cm. Decorated wrappers. Interesting articles on contenporary art and design.... furniture, fashion, kitchenware, graphics, etc., etc. The dominant sensibility is Deco throughout. Illustrated with halftone photo plates. Very good. $135.00

 

 

22. [DESIGN] ODA Kazuma, artist and designer. ÔYÔ ZUAN Gekkan Dai-ichi-go. Tokyo, Papiyon Zuansha, Taishô 7 [1918]. Folio-sized wrappers, 34.5 x 24.2 cm. This "Practical Design" monthly features the work of Oda Kazuma (1882-1956) in this, its first issue. This issue features articles on the use of electric lights at night for advertising with a note at the end on some recent advertising posters that have appeared. Obviously a periodical by professionals for professionals in the design and advertising world. Not a world one usually thinks of Oda Kazuma belonging to, but here he turns his talents at lithographic printmaking to more practical ends, with several examples of advertising designs and commercial art. Very good condition throughout. Very unusual. $1,850.00

 

 

23. [DESIGN]. SAIKÔKYÛ MIRAAKOOTO-KAMI TOPPAN-ZURI OODAMATCHI MIHONCHÔ NP, ND [Japan, 1960's?]. 16.3 X 24.5 cm. Leatheroid covers, 23 pages of 5.5 x 8 cm designs for matchbox covers, done in a "mirrorcoat" process of relief printing. One sample clipped for color matching. The back cover is loosening. Overall, a good copy of this very scarce and ephemeral catalogue. $325.00

 

 

24. [DESIGN] Kondô Ryûkô, designer. SEKAI SARASA 2 vols. Kyoto, Unkindô, Meiji 40 [1907]. 2 vols., 22.3 x 31.3 cm, tassel-bound in decorated paper covers, fukuro-toji. 27 full page color woodcut plates of cotton chintz designs from around the world. Covers show light wear at edges. Nicely printed, very good condition. Pencil ownership, an ink stamp, and a library pocket on inside front cover of each volume. Appears to be identical in every respect to the set of the same title published three year earlier, which credits the important designer Sjhimomura Tamahiro. Could Ryûkô and Tamahiro be the same person? There must be a story here. In any event, it is a lovely book published by the important Unkindô.  $375.00

 

 

25. [DESIGN] Shirokiya Department Store. 38 COVERS FROM RYÛKÔ MAGAZINE. Tokyo, Taisho era design, done by the design staff, including Furuta Tachiji, of Shirokiya Department store for this, their monthly magazine. Here we have a group of 38 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a repositury of Taishô chic design at its best. Save for the trimming and occasional foxing, in very good condition. $1,450.00

 

 

26. [DESIGN] Sugiura HISUI. 44 COVERS FROM MITSUKOSHI MAGAZINE. Tokyo, Meiji 44 to Taishô 6 [1911-1917] Hisui, perhaps the most influential design figure in the development of "Taishô Chic", joined Mitsukoshi department store in 1908 at the age of 32 as a part-time designer and became their head of design two years later. His graphic work on the covers of the monthly Mitsukoshi magazine marked the beginning of his rise to prominence and he would spend decades as an illustrator and book designer thereafter, a prime mover in the spread of a native Deco design tradition in Japan. Here we have a group of 44 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a remarkable record of Hisui's graphic genius. Save for the trimming and occasional foxing, in very good condition. $2,850.00

 

 

 

 

27. [DESIGN]. TOPPAN 65. NP [Japan, 1964]. 18.7 X 27.5 cm. 2p + 44pp. Very interesting salesman's sample book of designs for matchbox labels. Stiff wrappers. Relief printed designs for washi papers. Over 200 designs for 8.5 x 5.5 and 3.7 x 5.5 cm sizes. 8 paper samples. Overall, a good copy with a torn cover of this very scarce and ephemeral catalogue. $450.00

 

 

28. [DESIGN] WATANABE Yasujiro. KODAIKEI SUKETCHI ZUAN-SHÛ. Tokyo, Hakubunkan, Shôwa 7 [1932] A portfolio, 19.5 x 26.8 cm., of frontisp. + 70 numbered plates with designs derived from ancient motives, advanced as sources of inspiration for contemporary design in architecture, furniture design, textiles, stained glass, etc., etc. Interesting effort to revive professional interest in homegrown sources of design. Mostly line illustrations, though there are many plates with touches of a single color, and even some color plates. The tied portfolio covers are quite worn, but the plates are very good. Complete. $185.00

 

 

29. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Go. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This fifth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose. $275.00

 

 

30. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Ichi. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This first volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. However plate seven is missing. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing. $195.00

 

 

31. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Ni. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This second volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. However plate eight is missing. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing. $195.00

 

 

32. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Roku. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This sixth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contain 8 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose. $240.00

 

 

33. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai San. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This third volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. However plate four is missing. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the one plate is missing. $195.00

 

 

34. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU SHÛGAJO 7-kan Jô Tôkyô, Yoshikawa Kôbunkan, Meiji 34 [1901]. 4th printing. Oblong 8vo., wrappers. 18.2 x 26.3 cm. PRACTICE ALBUM FOR MIDDLE SCHOOL, Volume Seven, Part One. Containing 5 sheets of color woodcut reproducing watercolor sketches from part one of volume seven and one odd sheet from part two is laid in. By Asai Chû and meant to serve as a guide for middle school students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of Western watercolor rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. Complete in aof itself as a peret of the series and including an extra plate. $265.00

 

35. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Isshû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the first volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in near fine condition. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $375.00

 

 

36. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Nishû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the second volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

 

 

37. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Sanshû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the third volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

 

 

38. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Yonshû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fourth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

 

 

39. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Goshû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fifth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

 

 

40. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Rokushû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the sixth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

 

 

41. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chûtô ENPITSUGA TEHON Dai Hasshû. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. A bit of departure from earlier volumes in the series, this eighth volume contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chû and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $385.00

 

 

42. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Gohen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fifth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. $365.00

 

 

43. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Roppen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This sixth volume of the series A TEXTBOOK OF FREE SKETCHING contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the images have a degree of foxing throughout. $375.00

 

 

44. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Yonpen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fourth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chû and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chû, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chû strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. $365.00

 

 

45. [EHON] Katsushika HOKUSAI. Hokusai Ehon NANKA NO YUME. Kobayashi Bunshichi, Asakusa [Tôkyo], nd [c.1900]. 23.0 x 15.1 cm. Green, blind-patterned paper covers with printed paper title label, string-bound, Japanese-style, fukuro-toji. 40 pages of sumi-e woodblock illustrations. These represent a selection of images from the early 19th century novel by Bakin, illustrated by Hokusai, entitled SANSHICHI ZENDEN NANKA NO YUME. Kobayashi Bunshichi was a famed print dealer who also published illustrated books, both original and restrikes. These are a very unusual set of images by Hokusai, neither the original edition nor this one come to the market very often. Fairly good impressions, very good condition (there is a library pocket in the back). SOLD

 

 

46. [EHON] Kawanabe GYÔSAI, Artist. Tsuuzoku ISOPPU MONOGATARI. Tokyo: Inada Sahei, Meiji 8 [1875] (Meiji 5-8). 6 volumes. Hanshibon, 22.5 x 15 cm. Blindstamped patterned yellow paper covers, string-bound Japanese-style, fukuro-toji. The interesting and now very scarce translation of Aesop's Fables into Japanese from the English version of Thomas James. Illustrated throughout in b+w (without the grey block) woodcuts by the famed artist Kawanabe Gyôsai, the illustrations based on the English original. (For more on this work, see Scott Johnson's article, "The Illustrations for a Victorian Aesop and a Meiji Isoppu", 1983, Kansai University). Good impressions, very good condition. Enclosed in a modern clasped chitsu case, complete: $2,850.00

 

 

47. [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: SOLD

 

 

48. [EHON]NISHIMURA Tomonari. KAKEMONO ZUKAGAMI. NP, Bunka 3 [1806]. 26.6 x 19 cm. String-bound, Japanese-style, fukuro-toji. Interesting collection of 19 color printed images of "kakemono" fragrant curative talismans. See the copy at Waseda University for more on this book: http://www.wul.waseda.ac.jp/kotenseki/html/wo06/wo06_03147/index.html
Our copy is missing the title page which had been pasted on the inner front cover. The covers are replaced. Brushed title label. Some staining, a bit of worming, good impressions. [KSSM II, 101-2] $850.00

 

 

49. [EMAKI - HANDSCROLL]. HANDSCROLL OF DUCK IMAGES Ishizaki Kôyô, artist. Emaki handscroll in decorated handmade Japanese paper with a blank title label, internally sealed. 5.545 meters in length, 26.2 cm in height, image size. A series of art anatomical drawings of a male magamo (mallard) Uses a technique of depiction seen in the important EISHÔ HYAKUSHÔ GAFU, a series of bird images in 4 volumes printed in the Taisho era, edited by Takeuchi Seihô, in which a combination of sumi sketching and detailed realistic coloring gives a surrealistic flavor to the bird studies.

Kôyô [1884-1947] was a member of the second generation of the Kyoto School of painters. Born in Toyama, he was first a student of the Rimpa artist Yamamoto Kôichi, then, not surprisingly, the great Takeuchi Seihô. Kôyô is an important artist in his own right, whose colorful and decorative paintings have gained popularity in recent decades. This scroll is in near perfect condition. $3,250.00

 

 

50. Fukukita Yasunosuke. CHA-NO-YU, TEA CULT OF JAPAN, Tokyo: Hokuseido Press, 1938. 8vo., patterned cloth, third edition, in the original colorful, cloth covered boards and printed slipcase. Many color and photo ills. xxiv, 140pp. Fine, slight soiling. $65.00

 

 

51. [FURNITURE] Kenmochi Isamu. Kenchiku Shinsho 9 KIKAKU KAGU. Tokyo, Shôwa 19 [1944] 2nd printing after the first of 1943. 12mo., bound Western style in illustrated boards, heavily illustrated with photos. THE STANDARDS OF FURNITURE was an important work, as is evidenced by its production in the closing days of a losing work effort. Kenmochi is generally acknowledged to be one of the foremost industrial designers of the 20th century. In very good condition. $450.00

 

 

52. [GARDEN ARCHITECTURE] Kyôyôsha, publisher. Kenchiku Shashin Ruishû TEIEN NO KYOKUBU. Tokyo: Taishô 11 [1922]. 3rd printing. [First printing was in 1920] Small, 19.3 x 13.2 cm portfolio covers, tied. 50 plates of photos of private gardens in Japan. Very good and complete copy. SOLD

 

 

53. HEADLAND, Isaac Taylor. COURT LIFE IN CHINA: THE CAPITAL ITS OFFICIALS AND PEOPLE. New York: Fleming H. Revell Company, 1909. 19 photo illustrations, a few with minor dampstaining at top-right corners. Missing frontispiece. Publisher's yellow cloth binding with title and decoration printed blue and black. Cloth is darkened at spine and shows general soiling overall. Text is clean. Bookplate at front pastedown. A good reading copy. $125.00

 

 

WITH WOOD VENEER COVERS

 

54. [HORTICULTURE - Trade catalogue] YOKOHAMA NURSERY COMPANY, LTD. BULBS, PLANTS, SEEDS: 1909-10 DESCRIPTIVE CATALOGUE OF THE YOKOHAMA NURSERY CO., LTD. Yokohama, Japan: The Yokohama Nursery Co., Ltd., 1909. Profusely illustrated throughout: seven full-page color lithographs, all flowers but for one plate showing porcelain flower pots, and many black and white photo illustrations and line drawings in the text that show plants and flowers, stone lanterns, and the gardens and nurseries at the Yokohama Nursery Company. [vi], 98 pp. Flexible wood laminate covers, backed with paper, side-sewn with red thread. 25.3 x 18.5 cm. Title information taken from the front cover. One page has a little offset, and the back cover is gently creased, vertically at the center; otherwise it is a clean and remarkably well preserved copy. A descriptive catalogue of flowering and ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, etc. Also offered is a selection of dwarfed trees (bonsai) accompanied by instructions for their care. Copies of these catalogues are uncommon, particularly with the veneer covers, and quite scarce in this condition. SOLD

 

 

55. HOTEL DROUOT. COLLECTION CH. HAVILAND. Paris: 1922.

A series of auction catalogs of the collections of Japanese Art, ceramics, illustration, and illustrated books including descriptions for the items as well as a total of 64 plates. The volumes comprise all Haviland auctions pertaining to Japanese Prints & books in a total of seven volumes. All catalogs are bound in paper covers, some with slight soiling or tears all with spine reapairs in binder's tape. Interiors and plates bright and clean.

First Sale, November 27th-29th, 1922: 20 plates, 98p.

Tenth Sale, 2nd part, June 4th-6th, 1923: 16 plates, 107p.

Fourteenth Sale, Febuary 4th & 7th, 1924: 8 plates, 88p.

Fifteenth Sale, October 20th-23rd, 1924: 6 plates, 70p.

Sixteenth Sale, March 2nd-4th, 1925: 6 plates, 62p.

Seventeenth Sale, June 15th-17th, 1925: 4 plates, 53p.

Eighteenth Sale, June 2nd-4th, 1927: 4 plates, 90p.


An extensive group of volumes for reference, research or historical interest, Good condition. $850.00

 

FORTY PRINTS BY A LIVING NATIONAL TREASURE

 

56. KAMAKURA Yoshitarô & Kamakura Shizue, artists. RYÛKYÛ BINGATA & RYÛKYÛ BINGATA Dai Nishû. Kyoto: Kyoto Shoin. Two huge cloth portfolios, the earlier, 62.5 x 49.5 cm, issued in 1957 as a limited edition (unspecified limitation) of 20 bingata stencil prints on lovely handmade paper, as well as a stenciled plate laid onto the title page, 21 in all. It was printed by Kamakura Yoshitarô (1898-1983) and his wife, Shizue. The second portfolio is approximately the same size, again with 20 large prints, and a laid down plate on the title page, as well as a stenciled cloth image laid down on the outside of the portfolio. It was printed in an edition of only 10 copies in 1967, created by Kamakura, assisted in this effort by his daughter.

Kamakura himself was a great scholar of Okinawan art and a master of the Okinawan technique of stencil printing, related to katazome, called bingata. As such he was recognized by the Japanese government as a Living National Treasure. These are undoubtedly his central masterpieces, created when he was at the height of his powers, in such tiny numbers as to render this complete series in our possession for all intents and purposes, unique. SOLD

 

 

57. KANG, Woobang. KOREAN BUDDHIST SCULPTURE: ART AND TRUTH. Translated by Cho Yoonjung. Chicago: Art Media Resources Inc., Youlhwadang Publihser, 2005. 256pp. First Edition thus, an abridged English translation of "The Principles of Ancient Korean Sculpture," volumes I and II. Inscribed presentation from the author on the half-title page. Illustrated with black & white photos and diagrams throughout. 256 pp. Quarto, brown cloth, gilt title to spine, in a pictorial dust jacket. A fine copy. $85.00

 

 

58. KARHU, Clifton. TRADITIONAL PRINTS BY CLIF KARHU. [Kyoto]. Staple bound in stiff brown wrappers. 12 color reproductions of prints, along with descriptions of the artist's work. Contains text in both English & Japanese. Fine. $45.00

 

 

59. KAWABATA Keisui, editor. INDO BIJUTSU TAIKAN 2 vols.. Kyoto & Tokyo: Unsôdô. 2 vols. Tassel-bound cloth over board covers., tall folio. Profusely illustrated compendium of Indian art. Color and b+w plates use many techniques of reproduction... collotype, offset lithography, extremely painstaking color xylography. Unsodo was the finest art printer of the 20th century in Japan. A bit of internal waterstaining, but very good overall. Complete with the publishers clasped chitsu case missing one clasp. $450.00

 

 

60. KAWAKITA, Michiaki. CONTEMPORARY JAPANESE PRINTS. Translated by John Bester. Tokyo: Kodansha International, (1967, 1970). "Third Printing". Folio-size tan cloth; xii + 47 tipped-in color plates + 97-176pp. b&w plates + notes. Original wrap-around band. Just about fine in a clear spine soiled plastic jacket. $95.00

 

 

61. KEIRSTEAD, Thomas. THE GEOGRAPHY OF POWER IN MEDIEVAL JAPAN. Princeton, New Jersey: Princeton University Press, 1992. First edition. 181 pp. 8vo., blue cloth, gilt title to spine, with dust-jacket. A fine copy. $150.00

 

 

62. KOEHN, ALFRED. ART OF JAPANESE FLOWER ARRANGEMENT (IKEBANA). JAPAN & LONDON: Thopson & Kegan Paul, Trench, Trubner, [1933]. First edition. Original colored wood-block print frontis. large 8vo. Green decorated cloth. Wear to top of spine, overall a very good copy. $95.00

 

 

63. [LILIES] IKEDA SHOTEN. Saishoku Shasei YÛSHUTSU YURIBANASHÛ. Tôkyô, Ikeda Shoten, Meiji 28 [1895]. Hybrid Japanese-Western binding in cloth covered paper covers. Printed paper title label. Ribbon-bound. 26.3 x 19.3 cm., 43 pages of color woodblock printed pints of lilies. This copy A COLLECTION OF COLORED SKETCHES OF LILIES FOR EXPORT is quite rough - the worn covers have been repaired and there is internal staining and soiling. Still and all, early Japanese nursery catalogues of lilies are very scarce and those done in woodblock printing, virtually unheard of. Sold with all faults. In a clasped cloth chitsu case. $1,250.00

 

 

64. LUM, Bertha. GODS, GOBLINS AND GHOSTS. The Weird Legends of the Far East. Philadelphia: J.B. Lippincott, 1922. The limited edition, signed by Lum, illustrated with 6 additional color plates in color and with special binding and case. Large 4to, 65 pp., with illustrated endpapers, half-title and title page, and 15 plates (one double) in color and halftone; string-bound in beige cloth boards with paper labels. A fine and lovely copy in the folding case with some wear at the folds, quite scarce thus. SOLD

 

 

65. (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. SOLD

 

 

66. MASPERO, M. GEORGES. LE ROYAUME DE CHAMPA. Paris et Bruxelles: librairie nationale d'art et 'histoire, 1921. Staple Bound in olive green papers. 278pp. 40 plates. Pages untrimmed and some are unopened. A lovely copy. $175.00

 

 

67. MASS, Jeffrey P. THE DEVELOPMENT OF KAMAKURA RULE, 1180-1250, A HISTORY WITH DOCUMENTS. Stanford, California: Stanford University Press, 1979. xv, 312pp. 8vo., grey cloth, gilt title to spine, in an illustrated dust-jacket. Dust-jacket has a bit of edgewear and is faded on spine, else a fine copy. $125.00

 

 

68. MCCALLUM, DONALD F. THE FOUR GREAT TEMPLES: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan. Honolulu: University of Hawai'i Press, 2009. First edition. Text figures (photos and plans) throughout. xvii, 328 pp. 8vo., light blue cloth-covered boards, gilt title to spine, with dust-jacket. Inscribed on half-title page, presentation copy from the author. A fine copy. SOLD

 

 

69. (NETSUKE) MEINERTZHAGEN, Frederick, & edited by George LAZARNICK. MCI: The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum. New York: Alan R. Liss, 1986. In two volumes, still sealed in plastic. 4to, blue cloth, in red dust jackets. As new. $1,200.00

 

 

70. Noguchi, Yone. HARUNOBU. London and Yokohama: 1940. IX, 90pp., 3 woodcut color facsimile illustrations by Watanabe's studio. 5 color plates, 75 B+W plates. 4to. String-bound wrps. Fine in a quite worn navy blue cloth covered clasped folding box. $175.00

 

 

71. NOMA Kôshin, editor. KINSEI BUNGEI SÔKAN, 14 vols. Han'an Noma Kôshin Sensei Kankô Kinen Kai, Shôwa 44-50, [1969-75]. 8vo., red cloth, bound western-style. The first ten volumes were printed in an edition of 500 copies, the last four in 1000 copies. This interesting compilation of reproductions of kinsei literary texts is about fine in the original slipcases and shipping boxes. $285.00

 

 

72. N.Y.K. LINE. NITTA MARU YAWATA MARU KASUGA MARU. A folding color brochure , one sheet, folding into 23 x 15 cm covers. Details the "three graces of NYK", the luxury liner flagships of the NYK line launched in 1940-41. The text is all in English, the illustrations quite striking. Overall a sad document, coming as it did at the end of an era. The entry of Japan into WWII was mere months away and the 3 ships ended up stripped of their luxury appointments. They were used first as troop ships and then as converted aircraft carriers. None of the the three survived the war. Very ephemeral and unusual document of the era.SOLD

 

 

73. ONCHI Kôshirô & FUKUDA Katsuji. Shikashû JINTAI SHÔKA. Tokyo: Fugaku Honsha, Shôwa 22 [1947]. Tall 8vo, bound in wrappers with a dustwrapper. The book design, editing, and a few of the poems were composed by Onchi Kôshiro, the 8 photo reproductions of nudes, etc., are after photos by the important photographer Fukuda Katsuji (1899-1991). In very good condition throughout, a scarce and important work. SOLD

 

 

74. ÔSAKA SHÔSEN. AFURIKA NANBEI SEKAI ISHÛ KÔRO. Ôsaka, Shôwa 13 [1938]. Square 8vo. photo illustrated pamphlet. This ROUND THE WORLD SEA ROUTES TO SOUTH AMERICA AND AFRICA is full of useful information on travel requirements, with photos of ship interiors (quite lavish) and destinations (quite exotic). It seems that the Osaka Steamship Company was determined to open up new destinations and succeed against NYK, the behemoth of the times. The ships were quite a bit smaller than the 600' long NYK superliners, but they were surprisingly well-appointed. The pamphlet includes passenger rates as well. Very interesting. Very good condition. SOLD

 

 

75. [PACIFIC WAR] NAIKAKU JÔHÔBU. SHASHIN SHÛHÔ [THE PHOTO WEEKLY] Tokyo: Naikaku Insatsu-kyoku. 63 assorted issues (February 1938 to March of 1944) of this illustrated photo journal published on a weekly basis from February 1938 until July of 1945 by the Communications Department of the Japanese cabinet. A propaganda tool which strove to keep the domestic audience for Japanese Imperialism on topic. Many important Japanese photographers were involved, not only photojournalists but also artists such as Koishi Kiyoshi, Kimura Ihei, Hayashi Tadahiko, Irie Taikichi, etc. A remarkable record of the Pacific War and its evolution into a theatre of WWII and the image the Japanese governemnt wished to project concerning it to its home audience. All the issues are clean and in very good condition. Very unusual thus. (See Anne Tucker, The History of Japanese Photography, p.382.) Issues: #1, 39, 40, 66-7, 73-80, 90-1, 93-6, 98-9, 100-1, 107-14, 149, 152-3, 155, 157, 167, 170, 173, 176-8, 180-2, 187-9, 190-2, 194, 237, 247, 273-4, 277-8, 280, 283, 287-9, 314.  $2,850.00

 

 

76. PELLIOT, PAUL. MISSION PAUL PELLIOT DOCUMENTS CONSERVES AU MUSEE GUIMENT XI: GROTTES DE TOUEN-HOUANG CARNET DE NOTES DE PAUL PELLIOT: INSCRIPTIONS ET PEINTURES MURALES GROTTES 1 A 30. Paris: College De France, 1981. 131p. Includes 64 black & white plates. Volume XI in a series. Includes fascimile pages of notes and printed texts of many inscriptions. Bound in tan paper covers, binding tight, interiors clean. SOLD

 

 

77. PELLIOT, Paul. Recherches sur Chretiens d'Asie centrale et d'Extreme-Orient. II, 1: La Stele De Si-Ngan-Fou Paris: Editions de la foundation Singer-Polignac, [1983]. 108p. 5 plates. Bound in tan paper covers with printed title. A fine copy. $95.00

 

 

78. [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. $1,200.00

 

 

79. [PREWAR ADVERTISING] Sawa Reika, designer. YÔFUKU KODOMOFUKU-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 in western and children's clothing. Sawa Reika was an important designer and advertising photographer in his day. The volume consists of 50 pages of plates in both color and monochrome. Some edgewear, about very good overall, with some internal foxing. Printed paper wrappers. Very unusual. $1,100.00

 

 

80. [PREWAR ARCHITECTURE] ISHIMOTO, Kikuji. KENCHIKU-FU Utsukushiki FORM no SYMPHONIE, Tokyo, Gei-ensha, Taishô 13 [1924]. 27 x 19.4 cm. Printed cloth spine, printed paper over board covers. Produced by the Bunriha Kenchiku-kai, the first and perhaps the most important voice of "modern" architecture in Japan. Organized by a group of Tokyo Imperial University graduates in 1920, by the time this volume appeared, the members had secured an important foothold in the public imagination of the new intelligentsia, sponsoring department store shows of designs, publishing works like KENCHIKU-FU [Its title might be translated as AN ARCHITECTURAL PICTURE BOOK, Symphonic Form of Beauty], containing prospective and accomplished commissions, etc. A color frontispiece and 50 pp. of photo illustrations of buildings and projections which exemplify the "modern" style. No text save captioning and a very brief afterward. The book covers are worn, about good overall. Scarce and important. SOLD

 

 

81. [PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 17-nenpan. Tokyo, Shôwa 18 [1943] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1942 has a few photo illustrations and much textual detail on projects completed, etc. Good. $95.00

 

 

82. [PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 14-nenpan. Tokyo, Shôwa 15 [1940] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1939 has a few photo illustrations and much textual detail on projects completed, etc. Good. $95.00

 

 

83. [PREWAR ARCHITECTURE] KENCHIKU GAKKAI. KENCHIKU NENKAN Shôwa 15-nenpan. Tokyo, Shôwa 16 [1941] 8vo., wrappers. This ARCHITECTURAL ANNUAL FOR 1940 has a few photo illustrations and much textual detail on projects completed, etc. Good. $95.00

 

 

84. [PREWAR ARCHITECTURE] NISHIKAWA Tomotaka. TOSHI NO SHINKEIKAKU. Tôkyô, Kôbe: Kinseidô, Shôwa 7 [1932]. Large 8vo., illustrated wrappers in illustrated cardboard slipcase. 167+pp. plus a section containing 62 b+w photo images of urban scenes. This NEW URBAN PLANNING looks at urban development around the world from a Japanese perspective. Nishikawa, born in 1906, was an important and prolific author on architecture, gardens, etc. Very good condition. $225.00

 

 

85. [PREWAR ARCHITECTURE] Shufu No Tomo-Sha. MOHAN JÛTAKU NIJÛKYÛ-SHÛ BENRI NA IE NO SHINKENCHIKU. Tokyo, Shôwa 11 [4th printing, 1936]. Cloth-bound folio. 184+pp. Heavily illustrated with photos. "TWENTY-NINE EXAMPLES OF CONVENIENT HOMES IN THE NEW ARCHITECTURAL STYLE." Shufu no Tomo was a popular woman's magazine of the era and this is an interesting compendium of what were perceived to be advances in domestic architecture designed to lighten a woman's load. The hybridization of western and traditional surfaces, furniture, etc. was clearly aimed at ease of use and maintenance, not to mention the introduction of plumbing, the advance of kitchen design, etc. In very good condition. SOLD.

 

 

86. [PREWAR ARCHITECTURE]. TEIKOKU GIKAI GIJIDÔ KENCHIKU NO GAIYÔ. Tokyo, Shôwa 11 [1936]. Large 8vo., wrappers, 120+pp. Interesting summary of the design and construction of the the new National Diet building, Heavily illustrated throughout. The Diet building, of course, was spared in the air raids at the end of the war and is still being used as the seat of government today. In very good condition. $160.00

 

 

87. [PREWAR ARCHITECTURE]. TÔGYÔ KYÔKAI KENCHIKU GASHÛ. Sasaki Takeichi, editor. Tokyo: Showa 14 [1939] 26.0 x 19.1 cm, wrappers. The Watanabe Setsu Architecture firm designed and the Kiyomizu-gumi construction company built a lavish 3 story building for the Sugar Board, in effect a club for the 4 major players in the Japanese sugar industry. There are banquet halls, dining halls, meeting rooms, parlors, all quite elegant and all in a hybrid modern style with Deco elements and traditional elements from both East and West. Very good. SOLD

 

 

88. RAMBELLI, Fabio. BUDDHIST MATERIALITY: A CULTURAL HISTORY OF OBJECTS IN JAPANESE BUDDHISM. Stanford, California: Stanford University Press, 2007. One of the "Asian Religions & Cultures" series, edited by Carl Bielefeldt and Bernard Faure. Black & white text illustrations. xiv, 394 pp. 8vo., orange paper-covered boards with dust jacket. As new. $60.00

 

 

89. RICHARD, Naomi Noble, and Donald E. Brix, editors. THE HISTORY OF PAINTING IN EAST ASIA: ESSAYS ON THE SCHOLARLY METHOD. Papers Presented for an International Conference National Taiwan University, October 4-7, 2002. Taipei: Rock Publishing International, 2008. Black & white illustrations. Articles in English, Chinese, and Japanese. xiii, 642 pp. Large quarto, publisher's black cloth binding, gilt-stamped title to upper board and spine, with dust-jacket. A fine copy.

The papers are organized into six sections: Studies of Canonical Paintings; Buddhist Painting; Literati Painting; Art Historical Methodology; Recent and Contemporary Painting. The contributors include: Helmut Brinker, James Cahill, Chen Pao-chen, Chen Wei-chao, Craig Clunas, Donohashi Akio, Ebine Toshio, Wen C. Fong, Fu Shen, Robert E. Harris, Jr., Jonathan Hay, Itakura Masaaki, Lee Yu-min, Lothar Ledderose, David R. Packard, Youngsook Pak, John Rosenfield, Sano Midori, Santo Doshin, Sato Yasuhiro, Timon Screech, Shih Shou-chien, Shimao Arata, Yoshiaki Shimizu, Jerome Silbergeld, Takeda Tsuneo, Tsuji Nobuo, Richard Vinograd, Wan Qingli, Marsha Weidner, Wu Hung, Yen Chuan-ying, Yi Song-mi. $250.00

 

 

90. [SHAREHON] Jippensha IKKU. ZATTO ICHIRAN Zenpen. 2 vols. 21.9 x 14.3 cm. Grey-green covers, original printed paper labels. String-bound Japanese-style, fukuro-toji. Jippensha Ikku (1765-1831), comic author and "man of mode" was an important member of the gesaku literary movement of the 19th century, his most famous work being the TOKAIDÔ-CHÛ HIZAKURIGE. Here he has created a little "sharehon" for the playboy set. The title illustrates the work's sly humor, one could imagine its translation as "AN OVERVIEW OF THIS AND THAT" or even "A PERSPECTIVE ON STUFF"..... In this work, Ikku has combined his light humorous touch with his own illustrations, as well. Hardly deathless art, his naive and silly pictures compliment the contents of this clever work admirably. In good condition overall, with some wear to the covers. By no means common, the KSSM only locates only a handful of copies in Japanese institutions. There are no copies in WorldCat. Complete. SOLD

 

 

91. Shimizu Seifû & Nishizawa Tekihô. UNAI NO TOMO (A CHILD'S COMPANIONS). 10 vols., Kyoto, Unsôdô, 1891-1924. The complete set of this series of color illustrations of traditional Japanese toys. Hundreds of color plates, mostly single page, with a few double page as well. The pigments are very bright, and include some metallic inks. The overall colors, condition and printing of the set are very good. An excellent resource for mingei as well as the history of toys, as the images are all captioned (in Japanese) The most important work of its kind, seldom found outside Japan. In two old and worn chitsu folding cases. SOLD

 

 

92. [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. In a clasped cloth chitsu case. SOLD

 

 

93. SPINK, Walter M. AJANTA: HISTORY AND DEVELOPMENT. Volume 1: THE END OF THE GOLDEN AGE. Leiden, Boston: Brill, 2005. Handbook of Oriental Studies, Section Two: India, Volume 18-1. Edited by J. Bronkhorst. x, [2], 423 pp. 8vo., publisher's black cloth printed with title, illustration, and information about the book. Ink ownership on ffep. Bottom fore corners gently bumped, else fine. $150.00

 

 

94. SPINK, Walter M. AJANTA: HISTORY AND DEVELOPMENT. Volume Four: PAINTINGS, SCULPTURE, ARCHITECTURE YEAR BY YEAR. Leiden, Boston: Brill, 2009. Handbook of Oriental Studies, Section Two: India, Volume 18-4. Edited by J. Bronkhorst. 222 contemporary photographs, both black & white and color, and 46 plans, charts, tables and maps. xx, 107 pp., + illustrations. 8vo., publisher's black cloth printed with title, illustration, and information about the book. Lengthy presentation inscription from the author on ffep. The fore corner of one board is slightly bumped, else fine. Laid-in is a glossy card with a color illustration on one side and a brief history of Ajanta on the reverse.SOLD

 

 

95. TAKESHIMA & SEKINO. RYÔKIN JIDAI NO KENCHIKU TO SONO BUTSUZÔ [THE ARCHITECTURE OF THE LIAO AND CHIN ERA AND ITS BUDDHIST IMAGES]. Tokyo: Tôhô Bunka Gakuin Tôkyô Kenkyûsho, Shôwa 9- 10 [1934-5]. 2 Large heavy tassle bound plate volumes, illustrated with photographic collotypes. Quite lovely, an amazing resource with only a bit of edgewear. Overall very good condition. Missing the text volume and priced accordingly. Still a very useful research tool. SOLD

 

 

96. Tung, Wu. Masterpieces of Chinese Painting From the Museum of Fine Arts, Boston, Tang through Yuan Dynasties. Boston: Museum of Fine Arts, Boston, 1996. Printed by the Otsuka Kogeisha, Tokyo. Folio. 2vols. First Edition, signed by the author in publisher clamshell box and cardbaord mailing box with label. A Fine Copy. SOLD

 

 

97. WATANABE, Yoshio. MOSCOW. (Tokyo: Heibonsha, 1957). First edition. Black & white photo illustrations showing people and daily life in Moscow on a particular day, 25 May 1956. Title-page in Japanese and English, a brief Japanese preface by Nakashima Kenzô (- no English translation), with a short essay by Watanabe, "A Day in Moscow," at the end, followed by an English translation by Takeshi Ichinose. [vi], 48, [8] pp. Small quarto, 24.5 x 18 cm, bound in plain white paper boards with a glossy black and white photo-illustrated dust-jacket. Very slight wear to dust-jacket, and top-edges of closing text pages are lightly rippled; otherwise it is a clean copy in very good plus condition.SOLD

 

THE FIRST RAILWAY IN CHINA

 

98. RAPIER, Richard C. REMUNERATIVE RAILWAYS FOR NEW COUNTRIES; with some account of the first railway in China. Numerous illustrations and estimates. London: E. & F. N. Spon, 1878. 114 pp. 8 woodburytypes and many folding schedules for pricing estimates. Large 4to, a.e.g., orginal publishers red cloth stamped in gilt. First Edition, inscribed presentation copy with the author's compliments to Mr. P. J. Nursey who then presented it to the Soc. of Engineers with their book plate and stamp, the only library markings. As the author states in his preface, this book was written for "persons anxious to make railways in new countries, or in districts of old countries" and addresses the issue "that many lines already made do not pay their way satisfactorily." Illustrated with 48 wood-engravings of locomotives and and related railway equipment, most are based on photographs, and rail sections. The final 21 pages tell the story of the building of the Shanghai annd Woosung railway, China's first railway. A very pleasing and attractive copy. SOLD