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JAPAN AND ASIA

 

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SERICULTURE IN 19TH CENTURY JAPAN

 

1. ADAMS, F. O. [Francis Ottiwell]. THIRD REPORT BY MR. ADAMS ON SILK CULTURE IN JAPAN, DATED AUGUST 10, 1870. Presented to both Houses of Parliament by Command of Her Majesty. London: Printed by Harrison and Sons, 1871. At the head of t.p. is printed "JAPAN. No. 1 (1871)" and at the bottom edge [C.--243] and "Price 2s. 6d." This was first published at the "Japan Mail" Office, Yokohama, in 1870. 9 lithographic plates, of which two are in color and three are folding. Two of the folding plates are maps: a map of the `Silk Districts of Japan' and a general map of Japan. 16 pp. Folio, side-sewn, extracted from a bound volume. 32 x 20.5 cm (12.5 by 8 in). Text leaves are very lightly age-toned at edges, with some showing occasional bits of scant foxing; but it is clean and crisp overall. Housed in a light brown cloth portfolio with ribbon ties, and a gilt-lettered, dark brown morocco label on upper board. Near fine.

 

F. O. Adams was Secretary to the British Legation in Yokohama. In the summer of 1869, he made the first of his three tours of the silk producing districts of Japan. Although one of the folding maps indicates with two colored lines the routes that Adams followed on his 1869 and 1870 tours, this report details his second tour during the months of June and July 1870. It began and ended in Yedo and extended over 600 miles, travelling through the provinces of Bushiu, Shinshiu. Joshui, and Echigo, as far as Niigata, with several stops along the way. Smith was accompanied by Matsume Gonroku and two others. The purpose of their tour appears to have been the investigation of the various methods of silk-culture throughout the silk districts with a view to identifying those that achieve the highest yield and the best quality, the identification and treatment of a variety of diseases that are common to silkworms, and the examination of silk reeling techniques with the idea of introducing European machinery to improve the quality of the finished product. Besides illustrations of mulberry leaves, other plates show a Yamam-mai basket cage, methods of silk reeling at Yama-mai and Echigo, and a magnanerie (a silkworm house) at Shimamura.  $675.00

 

 

 

2. [AUCTION CATALOGUE]. JAPANESE PRINTS, PAINTINGS, ILLUSTRATED BOOKS AND DRAWINGS FROM THE COLLECTION OF THE LATE THEODOR SCHEIWE, PART I. Tuesday, March 21, 1989 at 10:00 a.m. (Lots 1-296). New York: Christie's, 1989. Illustrated throughout, some color, but mostly black & white. 201, [6] pp. Quarto, dark blue cloth with gilt-stamped title to upper board and spine, in a glossy color-illustrated dust jacket. Sale #6782, with a sheet of prices realized laid-in. A clean copy in a superficially scuffed and scratched jacket. Very good.  $100.00

 

 

 

3. [AUCTION CATALOGUE]. JAPANESE PRINTS, PAINTINGS, ILLUSTRATED BOOKS AND DRAWINGS FROM THE COLLECTION OF THE LATE THEODOR SCHEIWE, PART I [AND II]. New York: Christie's, 1989. Two volumes: Part I (sale #6782) held 21 March 1989, lots 1-296; Part II held 16 October 1989 (sale #6896), lots 1-176. Illustrated throughout, some color, but mostly black & white. Quartos bound in blue cloth with gilt stamped title to spines and upper boards, in glossy color-illustrated dust jackets. A sheet of prices realized is laid-in at the front of each volume. Fine copies in very good jackets that show slight wear.  $250.00

 

 

 

4. [AUCTION CATALOGUE]. IMPORTANT JAPANESE WORKS OF ART. New York: Christie's New York, 1985. Six slim quarto volumes in a paper-covered slipcase. Full-color, glossy, photo-illustrated catalogue covers in fine condition. Illustrated throughout in color and black & white. Slip case has some minor scuffs and a small white hand-written label ("March 1985") on spine. The auctions were held over two days on 20 & 21 March 1985. A sheet of prices realized for all six auctions is laid-in at the front of the first volume.

The six volumes are titled as follows:

Vol. 1: Important Japanese Armor from an East Coast Collection. Lots 1-35. Sale #5834.

Vol. 2: Important Japanese Sword Fittings from a Private Collection. Lots 36-129. Sale #5836.

Vol. 3: Important Japanese Prints from the Collection of the late Sidney A. Tannenbaum. Lots 130-198. Sale #5838.

Vol. 4: Fine Japanese Prints. (Title taken from front cover.) Lots 200-419. Sale #5840.

Vol. 5: Important Japanese Works of Art from the collection of Mary Louise O'Brien. Lots 420-603. Sale #5842.

Vol. 6: Fine Japanese Works of Art from the collection of Russell C. Veit and from various sources. Lots 610-967. Sale #5844.

For the set:  $125.00

 

 

 

5. [AVANT-GARDE] ITAGAKI Takao. KIKAI TO GEIJUTSU TO NO KÔRYÛ. Tokyo: Iwanami Shoten, Shôwa 4 [1929]. 1st printing. 8vo., decorated cloth covers. One of the most important works of criticism by Itagaki, the man who "invented" avant-garde photography in Japan. This examination of the CONFLUENCE OF ART AND THE MACHINE is not only an intellectual achievement of great importance, it is a wonderful piece of book design as well. Itagaki and the important avant-garde photographer, Horino Masao, collaborated to create this interesting and heavily illustrated work. With the decorated cardboard slipcase. A very scarce work, especially the first printing.  SOLD

 

 

 

6. [AVANT-GARDE] MURAYAMA Tomoyoshi, et al. ZÔKEI Sôkango. Kôbe: Hakuyô Gashûsha, 1925. 30 x 23.3 cm., printed wrappers. The first issue of ZÔKEI [THE PLASTIC ARTS], the magazine of the Sanka artistic group, then engaged in a struggle with MAVO for leadership of the avant-garde movement in the Japanese arts. There was much crossover between the groups and Murayama Tomoyoshi was central to them both. A snapshot of what might be the most fertile few months in the arts in the decade of the 1920s. In excellent condition, with the tipped-in plates and overlays that embellish this interesting example of avant-garde typography. Virtually unobtainable. SOLD

 

 

 

7. [AVANT-GARDE PHOTOGRAPHY] HORINO Masao. GENDAI SHASHIN GEIJUTSU-RON. Tokyo: Tenjinsha, Shôwa 5 [1930]. 12mo., decorated wrappers. 2, 2, 190pp+. Very interesting binding. This important book was reprinted in 1991, but the original edition is very unusual, especially in such nice condition. Horino Masao [1907-1998] was one of the most important avant-garde photographers of the prewar period in Japan and this THEORY OF CONTEMPORARY PHOTOGRAPHY, which touches on both still and moving pictures, is a classic. All text, not illustrated.  SOLD

 

 

 

8. [AVANT-GARDE PHOTOGRAPHY] HORINO Masao. WATAKUSHI NO SHASHINJUTSU. Tokyo: Shinchôsha, Shôwa 14 [1929]. Small 8vo., brown cloth in printed slipcase. Prelims 331pp+. Horino Masao [1907-1998] was one of the most important avant-garde photographers of the prewar period in Japan. This book, is an interesting illustrated guide for other photographers. Very unusual in the slipcase.  SOLD

 

 

 

9. [CHINESE THEATRE] CHI Ju Shan. RÉPERTOIRE DES MAQUILLAGES DE THÉÂTRE. Avec une traduction française par André d'Hormon. (Peking, 1934). First edition; the colophon is pasted on the inside of the back wrapper. [18] ff., including 6 ff. of color plates with tissue guards. Each plate is divided into twelve boxes. The boxes are consecutively numbered, 1-72, and inside each is shown the elaborate facial makeup for a character or a type of character to be found in Peking Opera, such as Kouan Yu (Guan Yu), Tchang Yu tch'ouen (Chang Yuchun), Houang Kai (Huang Kai), Pao Tchen (Bao Zheng), etc. Despite a misleading cover with Chinese and English titles, the text is in Chinese and French - except for the Chinese introduction, which is not translated. Oblong folio, 31 x 41 cm. (12 by 16 in.), side-sewn and glued into paper wrappers. Ex library, with only a few small stamps. The wrappers are worn, split at the spine, and chipped on back. Internally clean, with bright illustrations; though there is a small bit of light foxing in the margin of the second plate. The whole has a vertical crease at the center from having been folded once upon a time. Very good condition overall considering its delicate yet oversize format.  SOLD

 

 

 

10. [Chinese Woodcuts, Peking Jung Pao Chai] SHIH CHU CHAI CHIEN P'U Fei An T'i. Peking: Peking Jung Pao Chai, 1952. Set of four volumes (each 31 x 21.3 cm) of the TEN BAMBOO HALL POETRY PAPERS. The TEN BAMBOO HALL POETRY PAPERS, of course, dates back to the late Ming period in the 17th century and is one of the earliest classics of color woodblock printing in the world. It was conceived and created by the same artist, Hu Cheng-yen, who was responsible for the 16 fascicle TEN BAMBOO HALL PAINTING MANUAL. Each of the four volumes of this facsimile edition is string-bound Chinese style with paper labels. The hundreds (267) of color woodcuts are well printed works of the Peking Jung Pao Chai, the finest color printer in China in the 20th century. In the 1972 edition of his book, Chinese Poetry Paper by the Master of the Ten Bamboo Hall, Jan Tschichold calls this Jung Pao Chai 1952 facsimile edition, the first post-Revolution issue of this book, the finest issue and one of the most extraordinary jobs of color printing in the 20th century. That being said, it is a reprint of the original edition, which appeared in the 1930s, printed on vintage papers from the collection of the famous author Lu Hsun. That edition is virtually unobtainable and even this early post-War edition very scarce, as well. A remarkable and lovely work printed in gauffrage and colors. The original brocade-covered clasped wraparound box is missing, but the books themselves are about fine. In a modern tied wraparound case. SOLD

 

11. [Crepe Paper Book] Bostwick, Lt. F. M. OYUCHASAN. (10 Hiyoshicho, Tokyo: Hasegawa) Meiji 25 [1892]. 18.7 x 16.6 cm. Many color woodcuts throughout. Unpaginated, with a "List of Books" at the back that includes the twenty "fairy tale series" volumes and the "Aino fairy tales," as well. Slight soiling and a bit of rubbing on the front cover, else a nice copy of this unusual Hasegawa crepe-paper title. SOLD 

 

 

 

12. [DESIGN] Asano KOKÔ, artist. NIOI   Vol. 2. Kyoto: Unsôdô, Meiji 36 [1903]. 25.5 x 25.5 cm. 12 plates mounted on cards, with the table of contents on the inside of the front cover and the colophon on the inside of the back cover. The paper overlay is gone from the card covers. This is one of the rarest of Unsôdô books. Asano was a protege of Furuya Kôrin, who also died at a young age. Only the second of the two volumes, but complete as such. A "noble fragment". Still and all, a beautiful printing of very interesting designs.  SOLD

 

 

 

13. [DESIGN]. BIJUTSU ZUAN GAHÔ Vol. 1 [of at least 4]. Kyoto: Unkindô, Meiji 35 [1902]. 24 x 17.6 cm. Tassel-bound, fukuro toji, printed paper covers. 18 pages of well-printed designs from textiles, pottery, etc., etc. Issued as a periodical by Unkindô, it appears that at least four issues were distributed. A bit of edgewear, else very good throughout.  $450.00

 

 

 

14. [DESIGN] Furuya KÔRIN, artist. SHIMA SHIMA 2 vols. Kyoto: Unsôdô, Meiji 39 [1906]. 24.9 x 17.9 cm. Striped covers, printed paper labels, tassel-bound Japanese style, fukuro-toji. 40 pages of abstract stripe-themed color woodcut printed designs by Kôrin, next to Sekka the most eminent of the designers associated with Unsôdô. In very good condition throughout, complete as issued. SOLD

 

 

 

15. [DESIGN] FURUYA KÔRIN. MATSU ZUKUSHI Ichi. Kyoto: Unsôdô, Meiji 38 [1905]. Oblong album, 18.3 x 24.9 cm. One page introduction and final colophon page, along with 50 designs on twenty-five pages of color woodcut designs on a pine-tree theme by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Well-printed with bokashi, tarashikomi and metallic inks. The "first" and only volume, no others published. A good copy of this fragile work, with some internal staining of facing pages which does not affect the images and with a new back cover overlay laid-down.  SOLD

 

 

 

16. [DESIGN] Gotô Ryûkô. HANA NO NISHIKI #3. Kyoto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 x 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. A bit browned and edgeworn, it is number 3 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.  $225.00

 

 

 

17. [DESIGN] Gotô Ryûkô. HANA NO NISHIKI #4. Kyoto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 x 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 4 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature. SOLD 

 

 

 

18. [DESIGN] Gotô Ryûkô. HANA NO NISHIKI #5. Kyoto: Unkindô, Meiji 36 [1903]. A single woodblock-printed sheet, approx. 36 x 50 cm., folded into printed covers, 25.2 x 17.8 cm. Unkindô, a short-lived but brilliant publisher, later merged into the Unsôdô concern. Some browning, it is number 5 from an unknown number of such single-sheet designs. Very unusual, unknown in the literature.  SOLD 

 

 

 

19. [DESIGN] Hasegawa KEIKA. KEIKA ZUAN  GE. Kyoto: Unsôdô, Meiji 36 [1903].  24 x 16.3 cm. Design printed covers, string-bound Japanese style, fukuro-toji. 40 pages of color-printed designs by the important artist Keika. Lavishly printed in color and metallic pigments, it is the second volume of the first series of design books by him. Near fine condition, very good impressions and colors.  SOLD

 

 

 

20. [DESIGN] Hasegawa KEIKA. KEIKA ZUAN  Kôhen Jô. Kyoto: Unsôdô, Meiji 37 [1904]. 24.7 x 18.0 cm. Design printed covers, string-bound Japanese style, fukuro-toji. 40 pages of color-printed designs by the important artist Keika. Lavishly printed in color and metallic pigments, it is the first volume of the second series of design books by him. Near fine condition, very good impressions and colors.  SOLD

 

 

 

21. [DESIGN] ISEKI Tôjiro. TENTÔ SÔSHOKU ZUAN. Tokyo: Dôbunkan, Taishô 5 [1916]. Folio, 30.6 x 23 cm. 16 pp. preliminary pages and 30 plates in color laid-in to a cloth-backed, illustrated paper-covered portfolio. Originally the contents had been tied with ribbon to the lower board of the portfolio; although the ribbon is now gone, the text and illustrations are complete. A wonderful idea book for shop window displays in Japan during the nineteen-teens that range from simple presentations to elaborate displays. Some soiling to the covers, and the initial and final sheets are browned, but its condition is very good overall. SOLD

 

 

 

22. [DESIGN] Kaigai TENNEN. TENNEN HYAKU TSURU  3 vols. Kyoto: Unsôdô, Meiji 33 [1900]. 60 lavish color woodblock images with metallic ink and over-printing of designs on a theme of cranes. 3 volumes, complete. 31.7 x 22.1 cm. Tassel bound in printed heavy paper covers. Housed in the original publisher's clasped chitsu case, which has been professionally repaired, with the original paper title label. Tennen is one of the most important neo-Rimpa designers of the early 20th century and this major work appears nowhere in the literature. Very good original condition, and very unusual with the publisher's chitsu. SOLD

 

 

 

24. [DESIGN] Shimomura TAMAHIRO. TAMAHIRO GASHÛ. Kyoto & Tokyo: Unsôdô, Taishô 14 [1925]. Single sheets cord-bound into illustrated boards with a printed paper title label. 36.2 x 25.3 cm. There are 16 pages of color woodblock printed designs and 30 pages of b+w collotypes. One of the hybrid design books that Unsôdô created in the 20s and 30s. The covers are worn and soiled, the interior good to very good. A very unusual and late effort by Tamahiro (1878-1926), an important Unsôdô designer who began his work for them at the turn of the century. Complete and unusual.  SOLD

 

 

 

25. [DESIGN] Tsuda SEIFÛ. ZUANSHÛ  5 vols. Kyoto: Honda Ichijiro, Meiji 33-4 [1900-1]. 5 [of 8] volumes: We offer volume nos. 1, 4, 5, 6, & 7. Tassel-bound printed paper covers. 25 x 17.7 cm. A series of designs by the young Tsuda Seifu (1880-1978), who became one of the foremost Japanese artists of the 20th century. Each volume has 10 lavishly printed and overprinted designs in color and metallic inks, for a total of 50 images. Superb early impressions of remarkable rarity. About fine save some slight edgewear. SOLD

 

 

 

26. [DESIGN] Unsôdô, publisher. SEI-EI  Jû. Kyoto: Unsôdô, Meiji 38 [1905]. 25 x 18.2 cm. Bound orihon, folding album style, in paper over boards, integral printed title label. An anthology of 12 beautiful double-page, color woodblock-printed designs, it is the tenth volume in the Sei-ei series of design books. The design ideas display many deco elements ahead of their time. A joint repair to the table of contents pages, else, the images themselves are very good, in excellent impressions and colors. SOLD

 

 

 

27. [DESIGN] Yamamoto SEKKEI, artist. YAMATO NISHIKI   Ten. Kyoto: Unkindô, Meiji 34 [1901]. 24.4 x 17.7 cm. String-bound Japanese style, fukuro-toji, printed paper title label. 30 full page color prints. Beautiful impressions in overprinting and metallic inks after designs by Yamamoto, a protege of Furuya Kôrin. Despite the "ten" desgnation of this volume, which indicates that it should be the first of 3 volumes, it might be the only volume of a projected three-volume title: A listing in the 1902 Unkindô catalogue indicates that volumes two and three were forthcoming but not finished; yet, by the time Unkindô was absorbed into Unsôdô a few years later, the YAMATO NISHIKI is no longer listed in their catalogue. Also, the title does not appear in the exhaustive reference work: MEIJI TAISHÔ ZUANSHÛ NO KENKYÛ [2004]. Volume one [complete? of three?] of a very scarce title. SOLD

 

 

 

28. [DESIGNS FOR SATSUMA WARE] 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.  $37,500.00

Click here for more images.

 

 

 

29. [EHON - Album] Ikeda Terukata, et al. IMAYÔ FUJIN-GA. Tokyo: Kokkeidô, n.d. (c. 1900s). Decorated cloth-covered orihon folding album, with printed paper title label. 12.1 x 17.6 cm. There are twelve double-page images showing the chores and amusements of cultured wives and mothers of the day. The images have the dreamy and elegiac feeling that depictions of women in late-Meiji seem to share. The images are attributed to "Toshikata's companions", including Terukata (1883-1921), who did the majority of these prints.

Toshikata (1866-1908), a student of both Tsukioka Yoshitoshi and Watanabe Seitei, had many students and was an influential member of the ukiyoe genre in his day, as styles from many sources (Shijo, ukiyo-e, western-style) began to merge into the Nihonga of the 20th century. Terukata was an important member of the group around him.

This copy has no colophon per se, but it appears to be complete overall. It is very good internally, in good impressions and color. A lovely example of the genre.   $750.00

 

 

 

30. [EHON - Album] Mizuno TOSHIKATA, artist. CHANOYU HIBI-GUSA. Tokyo: Kokkeidô, n.d. [c. 1896]. Decorated cloth-covered orihon folding album, with printed paper title label. 24.5 x 17.7 cm. There is an initial double page of the title-page/table of contents and 15 double-page folding images, each some 33 x 22.4 cm in image size. The album depicts the meeting of a group of cultured women of the day at a tea-ceremony. The images have the dreamy and elegiac feeling that depictions of women in Mid-Meiji seemed to share.

Toshikata (1866-1908), a student of both Tsukioka Yoshitoshi and Watanabe Seitei, had many students of his own and was an influential member of the ukiyoe genre in his day, as styles from many sources (Shijo, ukiyo-e, western-style) began to merge into the Nihionga of the 20th century.

This copy has no colophon per se, but it is complete, matching the title-page contents. Fine internally and externally, in good impressions and color. A lovely example of the genre. SOLD

 

 

 

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

 

 

 

32. [EHON - TEN BAMBOO HALL] SHIH-CHU-CHAI SHU HUA P'U. Beijing, 1879. 186 images. 16 volumes bound in 8. Chinese wrappers ("butterfly" binding) with printed titles on covers, 25 x 15 cm., all in a clasped cloth chitsu case with title label. Imperceptible paper repairs to spines of volumes four and five. Though first published in the early 17th century, this late 19th century edition is a good impression from the recut blocks. Originally one of the first Chinese books to be printed using color woodblock, the TEN BAMBOO HALL is one of the world's great classics of book illustration. It had enormous influence on the development of the visual arts in East Asia, particularly in Japan. This lovely set passed through the hands of a Japanese bookdealer earlier in the 20th century.

Sets of the TEN BAMBOO HALL, particularly Chinese editions in such nice condition, have become quite scarce. From the Burton collection.  SOLD

 

 

 

33. [EHON] Artist: Anonymous [Tachibana Morikuni?]. SHASEI KEDAMONO ZUGA  2 vols. Osaka: Kashiwaharaya Seieimon, & Kyoto: Kikuya Shichirobei, Kyôwa 3 [1803]. Original blind-patterned green covers with printed paper title labels. 24.7 x 17.9 cm. Illustrated throughout with b+w woodcut images of animals. The original edition was issued in Kyôhô 4 [1719]. This is a recut edition in very good condition, with good recut impressions. Complete and unusual. This copy is from the collections of Charles Vignier and G. Burton.  SOLD

 

 

 

34. [EHON] HOKKEI/HOKUSAI. DÔCHÛ GAFU  2 vols. Nagoya: Eirakuya Tôshiro, n.d. [c.1865-70]. String-bound, Japanese style, in orange covers embossed with the Eirakuya design and a printed paper title label, 22.7 x 16.2 cm., together in a clasped chitsu case. A very pleasant copy, printed in light colors, of an interesting book with a long and complex bibliography - so complex that Matthi Forrer devoted the first chapter of his book on the Eirakuya Toshiro publishing firm to its explanation. The copy at hand would appear to be the second Eirakuya iteration, hence the fourth edition, after the first private printing around 1820, followed by the second edition [first commercial] by Eirakuya, and the third edition by Kôgetsudô Bunsuke. Among the changes effected through the years was the addition of a preliminary double-page plate by Hokusai. The original designs by his student Hokkei were repackaged as Hokusai's work thereafter. Our copy has, as a bit of an anomaly, a bound in copy of the A1 Eirakuya ad page, which originally appeared in about 1820 and could have no real connection to this edition of some 45 to 50 years later. In any event, an interesting anachronism. The printing is fair to good throughout, and its condition is quite good overall. Complete, and by no means a common book in decent condition and impression such as this.  $650.00

 

 

 

35. [EHON] KANGA SÔGAKU  4 vols. Osaka: Maekawa Zembei, Meiji 13 [1880]. String-bound fukuro-toji style, with chipped printed paper labels. 12.1 x 19.7 cm. A "QUICK STUDY" [SÔGAKU] guide to "CHINESE-STYLE PAINTING" [KANGA] with woodcut illustrations and text in Japanese and Kambun Chinese. Our copy resembles the one exhaustively described at Mitchell p. 336. Very good impressions and condition in the original worn blue cloth chitsu clasped case with printed paper title label. The first series, complete.  $325.00

 

 

 

36. [Ehon] Katsushika Hokusai, artist. EHON TÔSHISEN GOGON RITSU 5 vols. [Edo? Tokyo?]: Kobayashi Shimbei. Preface dated Tempô 3 [1832], colophon dated Tempô 4 [1833]. This edition of five syllable T'ang Dynasty Chinese poems was edited by Takai Ranzan. Without the 12 pages of Kobayashi Shimbei ads for other books. Dark green paper covers with wave pattern, paper title labels. 22.7 x 15.7 cm.

This work is quite complex bibliographically. Though this copy has the colophon of the original edition, the original covers, paper, etc., the wear of the blocks indicates a later impression, perhaps the end of the Edo period or into the Meiji.

Very good condition overall, fair to good later impressions, complete.  $385.00

 

 

 

37. [EHON] Katsushika HOKUSAI. FUGAKU HYAKKEI 3 Vols. Nagoya: Eirakuya Tôshiro, n.d. [c. 1860-1875]. Each volume has 26 sheets. Yellow covers with printed paper title labels. Ads, not title-pages, on inside front covers and ads on the inside back covers of volumes 1 and 2, as well. Volumes 1 and 2 are 22.4 x 15.7 cm.; volume 3 is 22.1 x 15.3 cm.

Following the excellent and extensive bibliographical guide to this work published by Matthi Forrer in his EIRAKUYA TÔSHIRÔ, Publisher at Nagoya, all three volumes are the so-called F-44 ad combination, which Forrer dates to c. 1860-1875. The relatively crisp condition of the blocks would seem to place this copy in the earliest part of that range, probably the early 1860s, as it compares very well to 1850s copies we have seen and is quite a bit better than copies from the 1870s.

What this means to the observer is that the impressions in volume 1 are quite good, even better in volume 2, and acceptable in volume 3. Overall, it is a remarkable set which illustrates why this work has always been regarded as one of the high water marks of Japanese book illustration. There is no need to take its superiority on faith, as late editions seem to require, it is immediately obvious.

The covers are soiled, the labels faded. There is the odd scribble here and there, and one or two marginal worm tracks, not effecting the images.

FUGAKU HYAKKEI is one of the monuments of world book illustration and this is a worthy example which captures the artist's intent.  $4,850.00

 

 

 

38. [EHON] Kawamura BUMPÔ, artist. BUMPÔ GAFU   Zen. Osaka & Kyoto: Yoshida Shimbei, Zodiacally dated Bunka 4 [1807]. 31 sheets, 30 double page illustrations, most with light colors. Original blue-grey covers with octagon design, bound Japanese-style, fukuro toji, with a printed paper title label. 25.6 x 18.0 cm. The first series of a continuing work originally projected for ten volumes, which was completed in three. Good or better impressions, good colors, and good condition, but with slight soiling.  SOLD

 

 

 

39. [EHON] Kawamura BUMPÔ, artist. BUMPÔ SANSUI GAFU. This copy matches the one volume edition listed at Mitchell 228,9, published by Yoshida Shimbei in 1824. It has the characteristic bamboo printed covers and a printed paper title label. 25.7 x 16.8 cm. BUMPO'S PICTURE BOOK OF LANDSCAPES: 30 double-page landscape illustrations in ink and light colors. Good impressions with very minor spotting. It has some scribbles on the cover and a few internal "improvements" in black ink to a few illustrations, which is very unfortunate as it is by no means a common book in good impression. Sold with all faults.  $650.00

 

 

 

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

 

 

 

41. [EHON] Kawamura BUMPÔ, artist. BUMPÔ GAFU  Sampen. Osaka & Kyoto: Kawachiya Kihei & Yoshida Shimbei, Bunka 10 [1813]. Original blue-green covers with octagon design bound Japanese-style, fukuro toji, with a printed paper title label. 25.7 x 17.9 cm. 1 preliminary and 35 paginated sheets, 4 sheets of Yoshida Shimbei ads. Illustrations with some colors. The third series of a continuing work originally projected for ten volumes, which was completed in three. Good or better impressions, good colors, and good condition except for slight worming and soiling. A fairly early printing of this work, but missing fascicle 11 and offered with all faults.  $250.00

 

 

 

42. [EHON] Kawamura BUMPÔ, artist. BUMPÔ GAFU  Sampen. Osaka & Kyoto: Kawachiya Kihei & Yoshida Shimbei, Bunka 10 [1813] (Bunsei 7 [1824]). Original blue-green covers with octagon design, bound Japanese-style fukuro toji, with a printed paper title label. 25.7 x 17.9 cm. 1 preliminary and 35 paginated sheets, 4 sheets of Yoshida Shimbei ads. Illustrations with light colors. The third series of a continuing work originally projected for ten volumes, which was completed in three. Good or better impressions, good colors, good condition with slight worming and soiling. There is a second colophon on the pastedown of the rear cover, this one of Yoshida Shimbei alone, dated Bunsei 7 [1824]. Thus, a fairly early printing of this work.  $750.00

 

 

 

43. [EHON] KAWAMURA Bumpô. KANGA SHINAN NIHEN  3 vols. Kyoto: Hishiya Magobei, et al., Bunka 8 [1811]. String-bound Japanese style in yellow covers with paper title labels. 26 x 17.5 cm. This "second series" of the KANGA SHINAN [Manual of Chinese-style Painting] was the only one illustrated by Bumpô and was published over thirty years after the first series; so it obviously stands on its own as an independent work. The simple designs are printed in sumi and light colors in very good impression. The condition of the three volumes is very good with only minor internal soiling and some exterior wear and soiling. A very nice example of an early printing. (Mitchell p. 335, Ryerson 385, Brown 104). Complete, as issued.  $1,500.00

 

 

 

44. [EHON] Kawamura Kihô, artist. KIHÔ GAFU. Kyoto: Yoshida Shimbei, Bunsei 7, [1824]. 1 volume, complete. 5 pp. prelims., 30 double-page color woodblock prints, 1 p. final, [pseudo-]colophon. The covers are green with a blind-stamped vegetal pattern, with a title label printed in brown on buff paper. 17.8 x 25.1 cm. The covers are fairly clean, the contents very good.

This copy is a bit anomalous: It differs from Mitchell's examples "A" and "B" but is more like "B" than "A". It colors are a bit later, the keyblocks are printed darkly. There is a printed title-page on the inner front cover, on yellow paper. There is no final colophon, but rather a final undated page [pseudo-colophon] listing four bookshops. The last and lead shop is Fukui Genjirô. Sealed throughout like Michell's "A" example. (Mitchell pp. 360,1; Brown p. 105; Ryerson p. 388; Kerlen #839).

Kihô was the adopted son of Bumpô and his work rivals Bumpô's in freshness and simplicity. Bibliographically, a very interesting example of this lovely book.  $1,250.00

 

 

 

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

Great fun! For a complete copy online, see the NYPL copy here

$850.00

 

 

 

46. [EHON] Keisai Masayoshi, artist. GYÔKAI RYAKUGA-SHIKI. Tôto [Edo]: Suharaya Ichibee, Kyôwa 2 [1802]. 1 volume, complete. Green blind-stamped covers [replaced?], string-bound Japanese style, fukuro toji, without title label. 26.6 x 18.2 cm. Title-page credits Shinshôdô [Suharaya Ichibei]. See Mitchell p. 517 for a concise explanation of the complex bibliography concerning this work originally published in 1802 as TATSU NO MIYA TSUKO, complete with haiku verses, here eliminated. The version with a title like this one, also without verses, usually has a colophon dated 1813. However, this copy conforms to the early (1802) issue described by Hayashi and is published by the same publisher as the impression with the TATSU title with poems. (Also see Hillier, vol. 1, pp. 478-9). We have had another example of this printing. There are 30 double-page color woodcuts of fish and shellfish. A classic naturalistic work reminiscent of Ryûsui's UMI NO SACHI. The impressions are good, with a touch of mica, but with oxidation of some of the metallic pigments. Although its condition is only fair to good overall, it is an important and unusual work, here in an early variant edition.  This is a study piece more than a collecting cornerstone and is priced accordingly.  SOLD

 

 

 

47. [EHON] Kikuchi HÔBUN, artist. HÔBUN GAFU. Kyoto: Yamada Unsôdô, Meiji 36 [1903]. 24.3 x 16.6 cm. 1 volume, complete. Black covers, string-bound Japanese style, with a printed paper label. 27 single-page and 12 double-page woodcuts in sumi and light colors of birds, animals, flowers, etc. by Hôbun (1862-1918), a Kyoto native who was a frequent contributor to the artistic epitomes of the day. This copy is of the second impression was done by Unsôdô (the first was printed by Tanaka Jihei in 1890). In very good condition and the impressions are good. (See Mitchell 298,9).  $285.00

 

 

 

48. [EHON] Kitao SHIGEMASA. Shashin KACHÔ ZUE  3 vols. Osaka & Edo: Kashiwaraya Seieimon, Nishimura Genroku, etc. Bunka 2 [1805]. Light blue paper covers with bird and flower cuts and printed paper title labels, string-bound Japanese style, fukuro-toji. 22.4 x 15.7 cm. Introduction and preliminaries, color bird and flower prints. Condition is very good, impressions and colors fair to good. Though there are a few striking and lovely images (as described in Hillier's Art of the Japanese Book), overall the composition and execution pales compared to such masterpieces as the Utamaro kyôkabon issued in the same era. Still and all, a lovely set, with some worming the only defect. Complete and actually, very unusual so.  SOLD

 

 

 

49. [EHON] Kitao SHIGEMASA. Shashin KACHÔ ZUE Nihen  3 vols. N.p., Bunsei 10 [1827]. Light blue paper covers with printed paper title labels, string-bound Japanese style, fukuro-toji. 21.9 x 15.9 cm. Introduction and preliminaries, color bird and flower prints. Condition is very good. Printing and colors, fair to good. The second series of the Shigemasa bird and flower ehon - originally slated to reach 15 volumes. Published posthumously some 22 years after the original series. Complete and actually, very unusual as such.  SOLD

 

 

 

50. [EHON] Kiyomizu Nôsaburo, artist. Tsuchiya Ihei, editor. TAKETOMI-ZÔ GAROKU. Tokyo, Meiji 12 [1879]. Oblong grey wrappers, string-bound Japanese style, fukuro toji, with printed paper title label. 16.6 x 24.1 cm. Illustrated throughout in fine and precise b+w woodcuts that resemble wood-engravings more than traditional Japanese woocuts, though they are obviously the latter. 1879 was a low point in Japanese book illustration but this little work rises above the contemporary mediocrity with its detailed and realistic images of animals, plants, landscapes, etc. Especially interesting for its association - it is signed on the front cover by none other than Isabella Lucy Bird, the important late 19th century female explorer whose UNBEATEN TRACKS IN JAPAN (London 1880) was one of the most famous traveller's tales of Japan in that era. Perhaps Isabella obtained this very copy while she was in Japan. Good condition, good impressions. Not found in Mitchell. Very unusual.  SOLD 

 

 

 

51. [EHON] Kôno BAIREI, artist. BAIREI KACHÔ GAFU  2 vols. Tokyo: Ôkura Shoten, Meiji 32 [1899]. Large format books of ôban-size color woodcut images, each sealed "Bairei." 37 x 25 cm (24 1/2 by 9 3/4 inches). Each of the volumes is comprised of 25 images, for a total of 50, that show birds throughout the changing seasons (vol. 1: Spring & Summer, vol. 2: Fall & Winter). The designs are fresh and lively - perhaps the finest of the large-format bird compilations of mid to late Meiji era Japan, and certainly the scarcest. This copy, a very good printing with lovely colors, is very clean. Mitchell 217 references this printing (seen by him) as a re-issue of the Okura edition of 1883. Both issues are very unusual. Complete, with the original printed fukuro dust-covers. SOLD 

 

 

 

 

 

52. [EHON] Kôno BAIREI, artist. BAIREI KACHÔ GAFU  2 vols. Tokyo: Ôkura Magobei, Meiji 16 [1883]. Large format books of ôban-size color woodcut images, each sealed "Bairei." 37 x 25 cm (24 1/2 by 9 3/4 inches). Each of the volumes is comprised of 25 images, for a total of 50, that show birds throughout the changing seasons (vol. 1: Spring & Summer, vol. 2: Fall & Winter). The designs are fresh and lively - perhaps the finest of the large-format bird compilations of mid to late Meiji era Japan, and certainly the scarcest. This is a copy of the true first edition, done sixteen years before the more well known reprint of 1899. The "feel" of the prints is much different than the later version, as it has decorated margins and captioned cartouches in the field. A very good and very early printing with lovely colors, quite clean. Mitchell 217 references the 1899 printing, having never seen this one, it would appear. Complete, in a hinged cloth case. SOLD

 

 

 

53. [Ehon] Kôno Bairei, artist. BAIREI HYAKUCHÔ GAFU [BAIREI'S SKETCHBOOK OF 100 BIRDS3 vols. Tokyo: Ôkura Magobei, Meiji 14 [1881]. Beige printed covers with red paper labels. 24.8 x 16.5 cm. Vol. 1: 29 single-page and 7 double-page color illustrations of birds; Vol. 2: 22 single-page and 11 double-page illustrations; Vol. 3: 19 single-page and 12 double-page illustrations, for a total of 70 single-page and 30 double-page prints. Complete as issued. This copy of Bairei's classic is in near-fine condition, with good impressions and colors. Sealed throughout. (Mitchell, p. 216; Brown, p. 199; Ryerson, p. 426).  SOLD

 

 

 

54. [Ehon] Kôno Bairei, artist. BAIREI HYAKUCHÔ GAFU Zokuhen [BAIREI'S SKETCHBOOK OF 100 BIRDS - Continued] 3 vols. Tokyo: Ôkura Magobei, Meiji 17 [1884]. Beige printed covers with red paper labels. 24.8 x 16.5 cm. Vol. 1: 18 single-page and 13 double-page color illustrations of birds; Vol. 2: 10 single-page and 17 double-page illustrations; Vol. 3: 9 single-page and 17 double-page illustrations, for a total of 37 single-page and 47 double-page prints. Complete as issued. Save some staining on the margins of a few pages in volume 1, this copy of Bairei's classic is in very good condition, with very good impressions and colors. Sealed throughout. (Mitchell, p. 216; Brown, p. 199; Ryerson, p. 426). SOLD 

 

 

 

55. [EHON]. MIYAKO MEISHO GAFU  2 vols. Ôsaka: Aoki Susandô, et al. Meiji 27 [1894]. Cord-bound Japanese style, fukuro-toji, with printed paper title labels. 24 x 17.8 cm. A total of 30 color wooodcut illustrations of Kyoto (29 double-page and 1 single-page) based on designs by contemporary and traditional Kyoto artists, such as Ôkyô, Sôken, Hyakunen, Hôbun, Sôbun, Keibun, Keinen, etc., etc. Though some are new, most of the designs come from the earlier TAMA HIROI of 1861 and the YAMASHIRO MEISHO FÛGETSU SHÛ of 1885. (Mitchell 420-1).

Wonderfully well-printed, many of the plates are infused with a remarkable energy. Complete, in near-fine condition.  SOLD

 

 

 

56. [Ehon] Mori Shunkei, artist. CHÛKA SENCHU. Tokyo & Kyoto: Unsôdô, [post-1911]. Cloth-covered orihon folding album, with paper title slip as above. 20.8 x 27.5 cm. As Kaempfer describes it in his article in ESSAYS ON JAPANESE ART, this is a complex work bibliographically. Initially published in 1820 with a preface and poems throughout, it was reprinted sans poetry, preface and colophon many times throughout the rest of the century (also see Mitchell pp. 494,5.) This is a very well printed late Meiji edition consisting of the twelve color prints of insects and plants, with nothing else. Despite being a late rendition, a remarkable and lovely work. In very good colors and impression. In this Unsôdô version, the double-page prints are not folded. The "made in Japan" stamp indicates a post-1911 date of export. SOLD

 

 

 

57. [EHON] Nishiyama KAN'EI, artist. KAN'EI GAFU. Osaka: Maekawa Zenbei, Meiji 19 [1886]. 28.6 x 18.3 cm. Orihon in brocade covers with 25 double-page color woodcut prints of birds, flowers, etc. Wonderfully well printed, a very early impression, with the brocade covered boards and printed title label. The finest color and printing of this work we have handled. (Mitchell 334). Complete.  $1,750.00

 

 

 

58. [EHON] Ônishi Chinnen, artist. EHON AZUMA NO TEBURI. Edo: Kobayashi Shimbei & Osakaya Gembei, Bunsei 12 [1829]. 27.8 x 18.6 cm, string bound Japanese-style, fukuro toji, (replacement?) blue paper covers with blindprinted geometric patterning. The title slip is missing as well, but otherwise this copy collates identically with the copy in Mitchell, p.214. See Hillier, volume 2, pp. 768-70, in which he describes Chinnen's SONAN GAFU and this volume, the AZUMA NO TEBURI, as being "among the best known and most admired of all Japanese books".

The 25 double page color prints of genre scenes in Edo done in Chinnen's inimitable Shijô style are very well printed. The colors are excellent and are those of an early printing. This is a very handsome book and an important cornerstone item for any ehon collection - Chinnen only produced two major works of book illustration, this and the iconic SONAN GAFU. Complete.  $2,850.00

 

 

 

59. [EHON] Ôhara Minsei, editor. MEISÛ GAFU  4 vols. Wakayama: Nanreikan, n.d. [c.1810] 25.2 x 17.6 cm. String-bound Japanese-style, light brown paper covers, original title labels. Good impressions throughout with very slight browning. Mostly b+w with a few color illustrations. Our copy differs from the copy in Mitchell (pp.413-414) in that the colophon on the inside back cover of volume four is undated and includes only the name of the Wakayama bookseller, Hirai Bunsuke and ads for 10 books published by Hirai.

Mitchell is quite enthusiastic about this book's importance, Hillier is more restrained. Complete.  $525.00

 

 

 

60. [EHON] Ôishi MATORA, artist. HYAKUNIN ISSHÛ HITOYO GATARI  9vols. Naniwa [Osaka]: Tsurugaya Kyûbei, Tempô 4 [1833] The text is by Ozaki Masayoshi. Figured blue and white covers, string-bound, Japanese-style, fukuro-toji. Printed paper title labels. (Mitchell 305-6). Very good condition, fair to good impressions, throughout. Complete.  $985.00

 

 

 

61. [EHON] Ôta Saburô, artist. ASA GIRI  2 vols. Tokyo, Meiji 45 [1912]. 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 BOOK]. These small volumes constitute one of the more interesting examples of the Japanese picture book genre produced in this century.

Our copy is in very good condition overall, without the usual foxing marks internally. It is enclosed in the original publishers 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

 

 

 

62. [EHON] Sakai Hoitsu (1761-1828). ÔSON GAFU. Nagoya and Edo: Eirakuya Tôshiro, n.d. [1829?], one volume, yellow covers, mica patterning, original title label, green on white. Look at Forrer's book on Eirakuya at page 234 for this early Eirakuya impression. A landmark of Rimpa school ehon, here in a fine example. For more on this book see Mitchell p.443, Hillier pp.661-665. Ex de Roos & Burton collections. The British Museum copy is also an Eirakuya printing. This copy has been described as an early, careful reprint from around 1822 in the past, but an examination of the hitherto unrecorded "false colophon"/advertisement from Eirakuya leads me to think it is a bit later, perhaps the late 1820s. Very unusual version of this important book in impeccable condition, in a clasped chitsu case. SOLD

 

 

 

63. [EHON] Seki BUNSEN, artist. BUNSEN GAFU. Osaka: Kawachiya Kihei, Ansei 2 [1855]. Dark blue covers, printed paper title label, string-bound Japanese style, fukuro toji, 22.2 x 15.9 cm. Corresponds to example "D" in Mitchell pp.232-3. Interesting and skillful lightly colored designs by Bunsen. The cover label is very worn, the covers are abraded and there is some thumbing and worming to the contents, but overall still an acceptable copy in good impression and colors. In a clasped clasped chitsu case. Complete as issued.  $650.00

 

 

 

64. [EHON] Senryûdô. Shasei Gafu KIHANA NO BU Zen. Tokyo: Iroha Shobô, Meiji 23 [1890]. 17.9 x 12.1 cm. Printed covers, printed paper title label. Color woodcuts throughout of plants and flowers, after designs by Takizawa Kiyoshi. Delicate and lovely. About fine. SOLD

 

 

 

65. [EHON] Senryûdô. Shasei Gafu SÔKA NO BU Zen. Tokyo: Iroha Shobô, Meiji 23 [1890]. 17.9 x 12.1 cm. Printed covers, printed paper title label. B+W line woodcuts throughout of plants and flowers, after designs by Takizawa Kiyoshi. Delicate and lovely. About fine. SOLD

 

 

 

66. [EHON] SÔ SHISEKI, artist. SÔ SHISEKI GAFU 3 vols. Edo, Meiwa 2 [1765]. 27.2 x 17.8 cm. Plain covers (probably not original - no title slips). String-bound Japanese-style fukuro-toji. The three volumes are complete and collate identically to the copies at Mitchell 502, Kerlen 1668 & Ryerson/Toda 414.

This classic and important cornerstone of Japanese book illustration (See Mitchell's lengthy descriptions.) is one of the first books to be published in Japan with color block printing - a few of the designs are rendered in one, two and three colors. Because of the haphazard nature of the effects created by the "one-block" method employed - each copy's color is strikingly different from any other.

This copy is from the Burton collection and compares favorably as to paper and impressions with the copies in the British Museum.

Complete copies of this important work are scarce in the marketplace. Some worming throughout. Sold with all faults and priced accordingly.  $1,850.00

 

 

 

67. [EHON] Tachibana MORIKUNI. HONCHÔ GAEN  6 vols. Kyoto, Osaka & Edo, n.d [1782?]. 26.4 x 18.2 cm., blue mottled covers, original printed title labels. This appears to be another copy of the same edition as that in the Brtish Museum collection, a reprint of the original edition from 1729. A weel printed collection of images from designs by the master Morikuni. Views of court and elegant retreats in the countryside, beautiful landscape views, etc. All printed in b+w. In very condition, good later impressions. Complete. SOLD

 

 

 

68. [EHON] Tachibana YASUKUNI. EHON NOYAMA GUSA 5 vols. bound in one [gappon]. Bunka 3 [1806]] Ôsaka. Yanagihara Kihei. 22.0 x 15.9 cm. Original covers and title label, string-bound, Japanese-style, fukuro-toji. Delicate and lovely botanical prints throughout. Surprisingly unusual work complete, though this is a reprint done after the original edition of 1755. Complete, in a tied paper wrappered case. (Bartlett & Shiohara 126, Kerlen p. 121).    Fairly good condition and impressions, with its faults, still an important and impressive work.  $1,850.00

 

 

 

69. [EHON] Takeuchi SEIHÔ, artist. SEIHÔ SHÛGA-JÔ  4 vols. Kyoto, Meiji 34 [1901]. 17.3 x 24.6 cm, Oblong printed textured paper covers, ribbon bound. Listed, but not seen, by Mitchell, Brown p. 202. 12 woodcuts per volume, Vols. 1 & 2 in monochrome, Vols 3 & 4 in light colors. Good impressions throughout. Some light foxing to the covers of vols. 1 & 2, else very good condition throughout. Complete as issued. SOLD 

 

 

 

70. [EHON] Taki Katei. TANJÔ IPPAN 5 vols. Tokyo: Yoshikawa Hanshichi, Meiji 27 [1894]. Engraver: Kimura Tokutarô, Printer: Matsui Santarô. (Ryerson 426; Mitchell p. 515).  5 folding albums, each with 12 woodcut double page illustrations, mostly in color. This copy differs from the Mitchell copy in that none of the volumes have prefaces; the size is 25.1 x 16.5 cm; and all volumes are dated 1894. Overall, this a remarkably lovely collaboration between a master designer and a master engraver. The condition, impressions and coloration are good or better. 5 vols, complete. SOLD

 

 

 

71. [EHON] Tani BUNCHÔ, artist. NIHON MEISAN ZUE   3 vols. Kyôto, Ôsaka, Edo, [1812]. String-bound, fukuro-toji, original printed paper title labels, b+w woodblock depictions of the "Famous Mountains of Japan". A work justly famed for its accurate representation of the mountains in question. Printed with great skill and subtlety. I a very good impression. According to Mitchell, this is the third printing, done in Bunka 9 [1812], some 8 years after the original edition, but still retaining the freshness and vigor of line for which the book is known. A bit of thumbing and some slight marginal worming in the final volume but very good overall.  $2,400.00

 

 

 

72. [EHON] Tani Bunchô, artist. GAGAKU SÔSHO. No place, no date [c.1826]. Orange paper covers, printed paper title label. 23.5 x 16 cm. 6 sheets of black, 5 double page white and grey block botanical prints, designed by Tani Bunchô, in this case after work by a certain Kinzan Saibin, from China, who was known for his plant drawings and for being an expert gardener, as well. The printings are remarkable, very early. This is the final section of five from the series. (Mitchell p. 260; KSSM v2,p66,1). One corner is a tiny bit bent, else very good overall. Very unusual, the British Museum collection contains but a few sheets from the series.     SOLD

 

 

 

73. [EHON] Watanabe SEITEI, artist. KACHÔ GAFU. N.P.N.D. [Originally Tokyo, Ôkura Shoten, Meiji 36 (1903)]. 22 sheets of colored woodcuts, birds and flowers. String-bound Japanese style, fukuro-toji in original covers and printed title label. Without the preface or colophon of the original edition but with all prints. 25 x 17 cm. 1 volume: 1 single page, 19 double-page and 1 triple-page prints. (Mitchell p. 319).

 

Very much in the style of his earlier SEITEI KACHÔ GAFU, but with different designs and much scarcer. No hashira pagination though other copies we have handled or found reference to were marked jô volumes in the hashira. However, it would seem that later volumes were never produced. Very good, early impression, fine overall. SOLD

 

 

 

74. [EHON] Watanabe Seitei, artist. SEITEI KACHÔ GAFU  3 vols. Tokyo: Okura Magobei, Meiji 23,24 [1890-91]. 24.7 x 16.8 cm., 22 sheets in each vol. Color woodcuts of birds and flowers, etc. String-bound Japanese-style [fukuro toji], printed paper covers and label. Very good impressions, colors and condition.

Seitei (1851-1918), pupil of Kikuchi Yosai, studied in France, edited BIJUTSU SEKAI and pioneered a fresh approach to Maruyama-Shijô style. A pioneer of the modern Kacho-e. (Baekeland pp. 76 & 149; Brown p. 202; Mitchell pp. 148 & 466; Hillier pp. 969-973). This set is complete in three volumes. Enclosed in a hinged cloth box. SOLD

 

 

 

75. [EHON] Yamaguchi SOKEN, artist. SOKEN SANSUI GAFU  2 vols. Heian [Kyoto]: Bunka 15 [1818]. 2 volumes, 25.6 x 18.3 cm, original green paper covers, blindfigured in an abstract vegetal pattern, original printed title slips, bound Japanese-style, fukuro toji. See Mitchell, p.499. [This copy is indentical in collation, save that the inside back cover lists many more publishers in Edo, Kyoto & Osaka] See also Hillier, volume one, pp.537-9. A well-printed fairly early copy, very good condition. A handsome and important book of landscapes printed with great elegance. Soken was one of Maruyama Ôkyô's greatest disciples. 2 vols., complete. SOLD

 

 

 

76. [EHON] Yamaguchi SÔKEN. SÔKEN GAFU Sôka no Bu  3 vols. Dark grey (replaced) covers with original printed title labels. String-bound Japanese-style, fukuro-toji. 25.8 x 17.7 cm. Kyoto: Bunka 3 [1806] Illustrated in b+w and grey woodcut throughout. This is perhaps Sôken's most successful ehon - illustrating a series of plants and grasses quite wonderfully. There is much use of block scraping to produce wonderful printing effects, especially on leaves and stems. The difficulty of the printing techniques means that this book always hovers on the edge of aesthetic disaster - when it is good it is very good, when it doesn't work it dissolves into pictorial chaos. Ours is very good. As for bibliographic details, our colophon is identical to the Mitchell, etc. copies [Mitchell 498-9], save that in this one the ads on the inside back cover are gone. In good condition overall, the slight worming has been expertly mended. A nice copy of a very scarce and important book. Complete.  $3,500.00

 

 

 

77. (HASEGAWA) Verhaeren, Emile. IMAGES JAPONAISES. T. Hasegawa: Tokyo, Hiyoshichô, Meiji 29 [1896]. Large format uncreped oblong work, 20.5 x 28.3 cm, printed paper covers. Bound entire into a custom cover and slipcase combination with marbled sides and leather spine (European?). The work itself is in perfect condition and very well printed. Created at about the same time and in about the same format as the FABLES OF FLORIAN. One of the loveliest and most unusual Hasegawa items, it consists mainly of double-page color woodcuts with only minimal text.       SOLD

 

 

 

78. HASHIGUCHI, Goyo, ed. UKIYO FUZOKU YAMATO NISHIKIE (UKIYOE)  12 vols. Tokyo: Nihon Fuzoku Zue Kankokai, 1917-1918. A fine twelve-volume survey of Japanese woodblock prints by masters of the Ukiyoe style from 1600-1800. Each volume is 37 x 25 cm. (14 by 10 inches) and is attractively bound in floral patterned paper boards with ribbon ties, a printed title label, and delightful patterned pastedowns of ducks in water. The pages are folded Japanese style. Each volume contains mounted reproduction woodblock prints, most of them in color and many folding, followed by an explanatory text in Japanese. Hashiguchi's expert compilation of the great Ukiyoe masters includes Utamaro, Sharaku, Toyokuni, Harunobu, Koryusai, Hiroshige, Hokusai, etc.

 

Contents:
1: Early Edo Era
2: Tan-e Period
3: Beni-e Period
4,5,6: Early Nishikie Period
7,8,9: Height of Nishikie Period
10,11,12: Last of the Edo Period

 

Signed with Hashiguchi's round red seal. The impressions are all fine. Light wear to the covers, a bit of abrasion to a couple of the title labels, most volumes have pencil notations of a former owner at the beginning listing the names of the artists in that volume and the characteristics of their work.

Rare as a complete set.  SOLD

 

.

81. [KODOMO NO KUNI] SUZUKI Fuminosuke, editor. KURITA Jirô,, illustrator. SHÔGAKU KAGAKU EHON Dai Rokkan TABEMONO. Tokyo: Tokyo-sha, Shôwa 12 [1937]. Square 8vo., illustrated cloth. This child's book about FOOD is #7 from the famous KODOMO NO KUNI series ILLUSTRATED CHILDREN'S ELEMENTARY SCIENCE BOOKS. Lovely design, great illustrations, another proof of the resources KODOMO NO KUNI could command as a publisher. A bit of neat writing on front endpapapers identifying the foods illustrated there. Good in a lightly soiled, illustrated dust-wrapper that has some dampstaing on reverse.  $250.00

 

 

 

82. [KODOMO NO KUNI] YOKOYAMA Shunji, illustrator. SHÔGAKU KAGAKU EHON Dai Rokkan IFUKU. Tokyo: Tokyo-sha, Shôwa 12 [1937]. Square 8vo., illustrated cloth. This child's book about CLOTHING is #6 from the famous KODOMO NO KUNI series ILLUSTRATED CHILDREN'S ELEMENTARY SCIENCE BOOKS. Lovely design, great illustrations, another proof of the resources KODOMO NO KUNI could command as a publisher. A good copy in a worn, illustrated dust-wrapper that has some tears and creasing to spine and back panel, and some old mends on the reverse.  $250.00

 

 

 

83. [KOKKA COMPANY]. CHOICE MASTERPIECES OF KORIN AND KENZAN (KÔRIN KENZAN MEISAKUSHÛ) Tokyo: The Kokka Company, (Meiji 39 [1906]). Folio in size, patterned silk over tied boards, printed silk label. English text on the famous brothers, Kôrin and Kenzan, along with ten color wood engravings of their works, captioned in English and Japanese. The wood engravings are up to the high standards kept by the KOKKA and are exquisitely printed, the images are remarkable. A beautiful book in near fine condition in the original clasped chitsu case, which has been professionally restored. Quite unusual especially with the chitsu.SOLD

 

 

 

85. [MAVO] TOLLER, Ernst. TSUBAME NO SHO. Tokyo: Chôryûsha Shoten, 1925. Translated by Murayama Tomoyoshi. Illustrated by Okada Tatsuo. 8vo., printed decorated wrappers. Contains 15 full-page original linocuts by Okada, one of a very few works with his MAVO-style original prints. Referenced in virtually every work and bibliography on the subject of Taishô-era avant-garde art, this is the finest copy of this scarce work we have ever seen. Complete with the original wraparound band printed: "Ernst Toller Das Schwalbenbuch" and as such, rare, indeed.  SOLD

 

 

 

86. [MEISHOKI] AKISATO Ritô. TÔKAIDÔ MEISHO ZUE 6 vols. 25.9 x 18.3 cm., Osaka, Kyoto & Edo, Kansei 9 [1797] string-bound, fukuro-toji, printed paper title labels. Illustrations by various Kyoto artists including Soken, Goshun, Soen, etc., etc. Scenes from the history of the fabled Eastern Sea Route, the post road from Edo to Kyoto. Good impressions and condition. Mitchell 528-9. Complete. $1,400.00

 

 

 

87. Morse, Edward S. JAPAN DAY BY DAY. Boston & New York: Houghton Mifflin Company, 1917. In two volumes. Large 8vo, grey pictorial cloth, t.e.g.; xiv + 441pp; prelims, 453pp. Colour frontis, many b+w text illustrations. Internally very good. Exterior fading, especially to the spines, as usual. This copy has a drawing of a Japanese pot by Morse and was inscribed by as follows:

 

Dear Mr. Merrill

A very unsatisfactory drawing

will draw another some time

There is room enough

Cordially yours

Edw S. Morse

Dec 5,17

 

Damn glad you own the book!

 

Inscribed copies of JAPAN DAY BY DAY are quite unusual. Especially interesting for the drawing, which resembles the many drawings he used in the book. Two volumes, complete.  SOLD

 

 

 

88. MURAYAMA Tomoyoshi. MIZUE, No. 235. Tokyo, Taishô 13 [1924]. Wrappers, 8vo. This issue of the important art journal MIZUE is notable for the inclusion of an article on constructivism by the avant-garde artist and critic, Murayama Tomoyoshi, entitled "KÔSEIHA HIHAN" ["CRITIQUE OF CONSTRUCTIVISM"]. Murayama was one of the most iconic figures of the avant-garde in the 20s and 30s. This article is interesting for being contemporary to constructivism's introduction into Japan. An important bit of art history, from the source.  $185.00

 

 

 

89. [MUSTARD SEED GARDEN] Wang Kai, et al. KAISHIEN GADEN  23 vols. Kyoto: Hishiya Magobei, n.d.[mid to late Meiji]. 25.7 x 17.6 cm. Original tan covers with printed paper title slips. String-bound fukuro-toji. The 23 volumes of this Japanese edition of the MUSTARD SEED GARDEN MANUAL OF PAINTING are enclosed in the original 5 clasped cases (one clasp missing) with worn printed title slips. Overall a very good set of this complete version of the MANUAL, including all the volumes originally published in China over the course of 150 years plus spurious productions added on. The printings and colors are quite nice. Complete sets of the MUSTARD SEED GARDEN, whether Chinese or Japanese, have become quite unusual in the marketplace.

Complete, as issued. SOLD

 

 

 

90. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Issue 29. Ôsaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. Very Good.  $95.00

 

 

 

 

91. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Issue 30. Ôsaka, Shôwa 7 [1932]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their occasional magazine (it would later become a monthly) they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. A particularly interesting issue. Very good.  $125.00

 

 

 

92. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #10. Ôsaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

93. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #12. Ôsaka, Shôwa 15 [1940]. 34+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

94. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #2. Ôsaka, Shôwa 15 [1940]. 46+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

95. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #4. Ôsaka, Shôwa 15 [1940]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

96. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #5. Ôsaka, Shôwa 15 [1940]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

97. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 11, #12. Ôsaka, Shôwa 16 [1941]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published as the fleet was approaching Pearl Harbor, the war with the Allies was soon to begin and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.  $85.00

 

 

 

98. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #1. Ôsaka, Shôwa 17 [1942]. 28+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.  $85.00

 

 

 

99. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #11. Ôsaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war had begun in earnest with the Allies and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.  $85.00

 

 

 

100. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 12, #5. Ôsaka, Shôwa 17 [1942]. 24+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. By the time this issue was published in 1942, the war with the Allies had begun in earnest and the quality of the paper and general tone of the news was declining. Soon most of the great ships would be requisitioned for the war effort and their era would become a thing of the past. Very good.  $85.00

 

 

 

101. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 7, #6. Ôsaka, Shôwa 12 [1937]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. Very good.  $95.00

 

 

 

102. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #1. Ôsaka, Shôwa 13 [1938]. 76+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published the year before total war began in China, and the atmosphere of war seems absent. A particularly deluxe production of this magazine. Very good.  $125.00

 

 

 

103. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #10. Ôsaka, Shôwa 13 [1938]. 48+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

104. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #2. Ôsaka, Shôwa 13 [1938]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published just before total war began in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

105. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #7. Osaka, Shôwa 13 [1938]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $85.00

 

 

 

106. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 8, #9. Ôsaka, Shôwa 13 [1938]. 42+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

107. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #11. Ôsaka, Shôwa 15 [1939]. 36+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

108. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #2. Ôsaka, Shôwa 15 [1939]. 44 +pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.  $95.00

 

 

 

109. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #4. Ôsaka, Shôw 15 [1939]. 44+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

110. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 9, #9. Ôsaka, Shôwa 15 [1939]. 40+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat, though with many images of war. Very good.  $95.00

 

 

 

111. [OCEAN LINERS] Osaka Shôsen Kaisha. UMI Vol. 10, #1. Ôsaka, Shôwa 15 [1940]. 56+ pp. 25.6 x 18 cm. Though OSK was later bought out by Mitsui after the war, at the time they published "THE SEA" as their monthly magazine, they had routes girdling the world. As a rival of NYK Lines, they filled its pages with travelogues, as well as images of the ships and the well-heeled passengers. This issue was published while war raged in China, but at least some of the paper is still glossy and the message, upbeat. Very good.  $95.00

 

 

 

112. [ONCHI - BINDING] ITÔ Einosuke, author. UMI NO ONI. Osaka: Mishima Shobô, Shôwa 22 [1947] 255+ pp. Small 8vo., Printed wrappers. Printed on very good quality paper. Very good condition. Interestingly, not included in the Onchi binding raisonne, ONCHI KÔSHIRÔ SEIHON NO GYÔ. Itô Einosuke [1903-59] was an important proletarian literary figure.  $125.00

 

 

 

113. [ONCHI - BINDING] KOYAMA Itoko, author. KÔYA. Tokyo: Shinchôsha, Shôwa 15 [1940] 1st printing, 363+ pp. Small 8vo., Patterned paper over boards, printed slipcase. Browned, good condition overall. Included in the Onchi binding raisonne, ONCHI KÔSHIRÔ SEIHON NO GYÔ as #313 (though they do not illustrate the slipcase). Fiction by this well regarded female author, many of whose books were designed by Onchi.  $145.00

 

 

 

114. [ONCHI - BINDING] MAEDA Yûgure, author. KENKA SHOKUBUTSU. Kyoto: Jinbun Shoin, Shôwa 11 [1936] 1st printing, 5, 304+ pp. Small 8vo., Blue cloth with silver, fine in decorated dustwrapper. The dustwrapper is a bit solied and rumpled but quite marvelous. It is listed as #304 in ONCHI KÔSHIRÔ SEIHON NO GYÔ. Maeda Yûgure [1883-1951] was the author of KASHÛ SHINSHO FUJI from the same period, which Onchi illustrated and whose binding he designed, as well. The delicate colored abstraction on the dustwrapper and the tooled abstraction in the cloth cover are vintage Onchi.  $225.00

 

 

 

115. [ONCHI - BINDING] NAGAYO Yoshirô, author. SONO YORU. Tokyo: Asahi Shimbunsha, Shôwa 23 [1948] 1st printing, 6, 337+ pp. 8vo., Decorated wrappers, Printed slipcase, some browning to slipcase, else very good condition overall. Included in the Onchi binding catalogue, ONCHI KÔSHIRÔ SEIHON NO GYÔ as #321, also color illustrated in HON NO BIJUTSU, though neither reference shows the slipcase. Nagayo Yoshirô [1888-1961] had been a member of the Shirakaba group in the teens and was known as a representative of its characteristic humanism as an author and playwright. One of Onchi's better late bindings.  $165.00

 

 

 

116. [ONCHI - BINDING] SHIODA Rikizô, author. TOJI KÔGEI NO KENKYÛ. Tokyo: ARS, Shôwa 2 [1927] 8, 8, 537+ pp. Small 8vo., Blue green cloth, gilt and blindstamped, in the original printed publisher's slipcase. Very good condition. Interestingly, not included in the Onchi binding raisonne, ONCHI KÔSHIRÔ SEIHON NO GYÔ. Besides the Onchi binding, an important and interesting book in its own right by the scholar, Shioda, on ceramic art. With a large section of illustrations.  $225.00

 

 

 

117. [ONCHI - BINDING] TERAO & HONDA, authors. DÔBUTSU TO SHOKUBUTSU NO SEIKATSU. Tokyo: Shinchôsha, Shôwa 18 [1940] 1st printing, prelims, 287+ pp. Small 8vo., Printed paper over boards, cloth spine, printed slipcase, very good condition overall. Interestingly, not included in the Onchi binding catalogue, ONCHI KÔSHIRÔ SEIHON NO GYÔ, but appears on page 128 of HON NO BIJUTSU. This lovely illustrated DAILY LIFE OF PLANTS AND ANIMALS was the seventh volume of the SHIN NIHON SHÔNEN SHÔJO BUNKO [The New Japanese Library For Boys and Girls].  $175.00

 

 

 

118. [ONCHI - BINDING] TOKI Zenmaro, author. GAIYÛ SHINKYÔ. Tokyo: Kaizôsha, Shôwa 4 [1929] 1st printing, 2, 3, 230+ pp. Square 8vo., Green cloth, gilt, Patterned dustwrapper. some wear to dw, else very good condition overall. Included in the Onchi binding catalogue, ONCHI KÔSHIRÔ SEIHON NO GYÔ as #198. Toki Zenmaro [1885-1980] was an important tanka poet; here he has written IMPRESSIONS OF TRAVEL ABROAD. Makumoto Kijohiko has translated the highlights into Esperanto and they are herewith published back-to-back. Interesting little book.  SOLD

 

 

 

119. [ONCHI - BINDING] TOMIZUKA Kiyoshi, editor. HIKÔKI. Tokyo: ARS, Shôwa 29 [1954]. Small 8vo. Half leatheroid and marbled boards. Gilt. In the decorated publisher's slipcase. This is number 28 (on AIRPLANES) from the series NIHON IDÔ BUNKO [CHILDREN'S LIBRARY OF JAPAN]. Near fine copy. Though #35 from the series does appear in the Onchi binding catalogue, this one does not. Illustrated throughout. An interesting little book.  $185.00

 

 

 

120. [ONCHI - BINDING] TSUBOTA Jôji, author. TSURU NO ONGAESHI. Tokyo: Shinchôsha, Shôwa 18 [1943] 2nd printing, 288+ pp. Small 8vo., Printed wrappers. Browned, good condition overall. Interestingly, not included in the Onchi binding raisonne, ONCHI KÔSHIRÔ SEIHON NO GYÔ. A retelling of the old folk tale, THE CRANE'S GRATITUDE.  $185.00

 

 

 

121. ONCHI Koshirô, artist & MAEDA Sekibô, poet. Kashû SHINSHÔ FUJI [Collection of Poetry: NEW PRAISE, FUJI] Tokyo: Fugaku Honsha, Shôwa 21 [1946]. 28.7 x 20 cm., 2 full page color woodcuts by Onchi, 1 tipped-in page of calligraphy. Blue and white flexible covers, in a dustwrapper depicting Fuji which is also a print by Onchi. 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

 

 

 

122. 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

 

 

 

123. [Peking Jung Pao Chai, Publishers] Ch'i P'ai-shih etal. PEKING JUNG PAO CHAI HSIN CHI SHIH CHIEN P'U  2 vols. Peking, 1955. Folio, 2 vols bound chinese-style in purple wraps, enclosed in a brocade folding box with ivory clasps. In fine condition. This collection of wood-block reproductions of paintings was published by the famous Peking art publishers in honor of the 91st year of the painter Ch'i P'ai-shih, which was celebrated in 1951. There are a total of 80 multicolor prints, of which 32 are after designs by Ch'i P'ai-shih, himself. Magnificently done, they represent the height of the printer's craft in 20th century China. Fine, save that there is internal foxing. Complete. SOLD

 

 

 

124. [PEKING]. PEKING, NORTH CHINA, SOUTH MANCHURIA, AND KOREA. With Maps, Plans and Illustrations. London: Thomas Cook & Son, 1924. Fifth edition. Many small photo illustrations throughout, plus three small fold-out maps: 1.) Railway and steamship connections North China-Chosen-Japan, 21 x 25.5 cm; 2.) Peking, 27.5 x 22.5, short closed-tear at inside edge and a few pencil notes; 3.) Keijyo (seoul) & Ryuzan, 14.5 x 22 cm. [4], 143 pp., + [xxii] adv. pp. 12mo., green cloth, with title ('Cook's Guide To Peking...") printed in black on upper board. Light soiling and wear to binding. Occasional light foxing and sporadic pencil notes within. Complete, though some leaves are sprung. About very good.  $160.00

 

 

 

125. [PHOTO ALBUM]. 88 HAND-COLORED 19TH-CENTURY ALBUMEN PHOTOGRAPHS OF JAPAN. The images, each of which is approximately 20.5 x 27 cm. (8 by 10.25 in.), cover the gamut of tourist scenes in and around Tokyo, Kyoto, Nara, Osaka, Kobe, Idzu, etc., but also include many unusual images that are not the standard fare. All but six of the photos have an English-language caption in the print that identifies the subject or view. Three images depict damage caused by the 1891 Mino-Owari Earthquake. One image, of the "Kioto Rapids", is present in duplicate. Photographers include Kinbei Kusakabe, Baron Raimund vov Stillfried, and Kihei Tamamura. The photographs are laid-down on heavy card mounts, one to a page, in a contemporary brown cloth album, [44] ff., 28.5 x 37 cm. (11.25 by 14.75 in.), with "JAPAN" stamped in gilt on the upper board. Some foxing to mounts and very occasionally, mildly to photos. The album has been professionally rebacked. A very good selection of photos in very good condition, attractively displayed.  $4,250.00

 

 

 

126. [PROLETARIAN - CHILDREN]. SHÔNEN SENKI (A MONTHLY REVIEW OF THE YOUNG WORKERS-PEASANTS). Shôwa 4 [1929]. Vol. 1, nos. 7. A leftist monthly magazine for youth With political cartoons, songs, translations from European and Soviet literature, etc. Still, it kept its sense of humor - children are often portrayed as winning out over their elders. The principals were Masamoto Kusurô and Inô Shôzô, though it appears that Murayama Tomoyoshi created at least this cover and had a hand in the magazine's production. Interesting for the fact that, though it started out as an addendum to the SENKI [BATTLE FLAG], a review for adults of left-wing sympathies, it also had an independent standing. Trying to counter the romanticism of "doushinshugi" common at the time, the creators of SHÔNEN SENKI sought to portray the sometimes grim realities of life for children under the Japanese Empire. By 1931, the war clouds gathering allowed the authorities to crack down on the SENKI group and the magazines were stifled. Printed on cheap paper, these are the ultimate in ephemera, especially as they were later regarded as contraband during the war. About good. Very unusual. SOLD

 

 

 

127. [SHIJO]. THE UNINHIBITED BRUSH. Japanese Art in the Shijo Style. By J. Hillier. (London): Hugh M. Moss, (1974). #304 of 1000 numbered copies. Large 4to, tan cloth; xviii + 378 pp., with 84 tipped-in color plates, 203 b&w plates. Bump to lower spine, else fine, in publisher's slipcase. SOLD

 

 

 

128. SIREN, Osvald. GARDENS OF CHINA. New York: The Ronald Press, (1949). Large 4to, xiv + 141 pp., with 11 color plates, followed by 208 half-tone photographic plates; green cloth. A very good, solid copy, (no names or markings) in the slipcase which is moderately worn and soiled.  SOLD

 

 

 

129. TINDALE, Thomas & Harriet R. THE HANDMADE PAPERS OF JAPAN. Charles Tuttle, Rutland & Tokyo, 1952. Four volumes and one envelope in a clasped chitsu case. 35 x 29 cm. This is one of the finest studies and most beautiful books created on the subject of Japanese paper. With katazome stencilled illustrations and cover designs by Serizawa Keisuke, the work is full of paper specimens, including contemporary papers but also old and rare papers dating back to the eighth and ninth centuries. Volume 1, "The Handmade Papers of Japan," provides a history and description of Japanese papermaking and is accompanied by an envelope containing five different papermaking fibers. Volume 2, the "Seki Collection," contains 187 clipped specimens from the Nara period (710-93) to the present day. Volume 3, "Contemporary Collection," presents 139 full-page specimens and descriptions of modern papers from twenty districts of Japan. Volume 4, "Watermarks", includes twenty pictorial light-and-shade watermarked papers. Although 250 copies of this book were planned, there is a letter from Charles Tuttle in existence which claims that he only produced some 150 copies. Our copy of this extraordinary set is in very good condition. The clasped chitsu case of the watermark collection portfolio is missing one clasp and one hinge of that same chitsu case has broken. A remarkable book which we have sought to find for many years.  SOLD

Click here for more images.

 

 

 

130. TINDALE, Thomas & Harriet R. THE HANDMADE PAPERS OF JAPAN: VOLUME 4: THE WATERMARKS COLLECTION. Rutland, Vermont & Tokyo, Japan: Charles Tuttle, 1952. 34 x 27.5 cm. A paper-covered chitsu containing an English-language letterpress pamphlet, 5 pp., and 19 (of 20) pictorial light-and-shade watermarked papers. It is missing one watermarked paper, the one illustrating the Maiko carrying an umbrella, and there is some dampstaining to three other papers and the inside of the portfolio cover. Still, very good overall.

THE HANDMADE PAPERS OF JAPAN is one of the finest studies and most beautiful books created on the subject of Japanese paper. Although 250 copies of this four-volume book were planned, there is a letter from Charles Tuttle in existence which claims that he only produced some 150 copies. We are offering Volume 4 only - 19 amazing watermarked papers - as described above.  SOLD

 

 

 

131. [USSR]. ROSHIYA OSORERU-BESHI CCCP Hanzai Kagaku Zôkan. Tokyo, Bukyôsha, Shôwa 7 [1932]. 25.6 x 19 cm. 335+ pp. Wrappers. The cover and table of contents are interesting montage images, designed by Imamura Torashi [1902-1975]. Profusely illustrated throughout, with articles on the revolution, the Red Army, industry, the arts (including an article on Soviet photography by Horino Masao, the important avant-garde photographer), etc., etc. The title captures the mixture of respect and a bit of fear that the Japanese intelligentsia had for Russia in the 30's. The covers are slightly rubbed and solied, about very good overall. Very interesting work.     SOLD

 

 

 

A REVIEW COPY?

 

 

132. WERTHEIMBER, Louis. A MURAMASA BLADE: A STORY OF FEUDALISM IN OLD JAPAN. Boston: Ticknor and Company, 1887. First edition. Illustrated throughout with 5 copper engravings by Nakamura Munehiro and 19 full-page wood engravings, along with many smaller wood-engraved text illustrations, by Shirayama Dani. xvi, 188 pp. Large octavo bound in maroon chrysanthemum-patterened silk brocade over padded boards, with gilt title and vignette (a short sword or dagger) on upper board and title on spine, patterned endpapers, t.e.g. Laid-in is a printed memorandum from the publisher (2 1/2 by 16 in.) that sets forth "certain facts concerning the mechanical make-up and literary history of the of the book," along with biographical information about the author, as "an assistance to the literary editor or reviewer." Cloth has darkened slightly on upper board and spine; the gilt lettering on spine has dulled and flaked a bit; and the front hinge shows a bit of wear. Copies in the silk binding are scarce and are often quite worn when found. However, this is an unusual copy, being fresh and clean internally, with a rare publisher's memorandum laid-in, in a sound and attractive binding. Near fine.  $650.00

 

 

 

133. [Woodcuts, Chinese] Ch'i P'ai-shih. CH'I P'AI-SHIH HUA CHI. [Peking]: Jung Pao Chai, 1952. This album of 22 singlepage reproductions of works by Ch'i P'ai-shih is extremely well-printed, bound accordion-style in brocade covers, 31.3 x 21.7 cm. A bit of occasional foxing, else the book and prints are fine. The earliest printing of this album from the finest woodblock printer of the day. SOLD