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32. [EHON] GENDAI HAIGA SHÛ [A COLLECTION OF MODERN HAIGA]. 4 vols., Spring, Summer, Autumn and Winter. Spring has 28 full page color woodcuts; Summer has 31 and Autumn and Winter have 30 apiece, totaling 119 prints, complete as called for. String-bound Japanese style in printed paper covers. Dated from Taishô 4 to 6 [1915 to 1917], compiled by Shimada Yûkichi; printed by Kishi Kageyoshi and published by Haigadô, Tokyo. The GENDAI HAIGA SHÛ is a work of considerable skill and demonstrable rarity. The list of artists involved is a long one, including Nakamura Fusetsu, Tomita Keisen, Ishii Hakutei, Hirafuku Hyakusui, Ôta Saburô, Kosugi Misei, Shimomura Izan and many other important figures in Western-style painting, here working in their literati "haiga" mode. Mitchell had but one volume of the four, the British Library only procured its own complete set in the 90's. Hillier seems to have missed the existence of the book completely. Our set is clean throughout. The covers are a bit browned but still nice. The overall condition of the set is very good in excellent colors and impressions. Four volumes, complete, in a clasped chitsu case. SOLD
33. [EHON] NISHIKAWA Mitsuru. EHON MOMOTARÔ. Taipei, Taiwan: Nikkô Sambô, Shôwa 13 . 27.6 x 19.7 cm, string-bound Japanese style in handmade paper covers with paper title label. With woodcut printed preliminaries and finals and 10 double page woodblock prints by Miyata Yatarô with hand-coloring depicting the legend of the Peach-boy in bold strokes and vibrant colors. A remarkable work from the circle of Nishikawa, editor of the famous Taiwan-based cultural journal "MOSO." Done with a remarkable hybrid vigor that probably owes as much to world currents of contemporary "modern art" as it does to Japanese 17th Century tanrokubon and Taiwanese aboriginal art. Due to its small limitation and the vissicitudes of the war, by definition a scarce work. Contains a preliminary colored ink sketch and calligraphed poem signed and sealed by Nishikawa. One of 75 copies. Unfortunately this copy is dampstained throughout. The brilliant red of the cover label has bled through to the contents. The illustrations themselves are so bold that the damage hardly shows, but the covers, limitation page, signature page, etc. do suffer. As the book as a whole is else in remarkably lovely shape, the damage is all the more unfortunate. In the original [stained] color printed fukuro dustwrapper as well. Complete, with all faults as described. $385.00
34. [EHON] Ôta Saburô, artist. ASA GIRI. Tokyo, Meiji 45 . 2 volumes, string-bound Japanese style, 19.1 x 13 cm. Each volume contains 35 color prints with a facing page of text. The prints appear to be a hybrid of lithography and color woodcut. [See Hillier's discussion of the book in his ART OF THE JAPANESE PRINTED BOOK]. These small volumes constitute a truly remarkable work and one of the most important examples of the Japanese picture book genre produced in the twentieth century. Our copy is in very good condition overall, with only a few foxed pages 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
35. [KATAZOME] KANZAKA Onjun. TOKI TO NINGYÔ TO. Horita Ryôhei, n.p. [Ôsaka?], Shôwa 61 . 16.3 x 22.2 cm. Designed, printed and colored by Onjun in his katazome stencil medium. Number 49 of only 50 copies of this lovely book bound in orihon folding album style in stiff washi-covered boards and stenciled title label. All in a matching washi handmade paper covered clasped folding chitsu box. A lovely presentation of this artist's book in perfect condition. The subject of the 18 full page illustrations (and facing page text) is dolls and timepieces. $485.00
36. [KYOTO ARTISTS]. ALBUM OF 18 WOODBLOCK PRINTS BY "MODERN MASTERS OF KYOTO." Orihon folding album in brocade covered boards. 28.8 x 19 cm. [N.P., N.D. - Kyoto, 1920's] 18 full page [23 x 32 cm] color woodcuts by such 20th century Nihonga artists as Matsumoto Ichiyô. Some foxing to the images, about good in lovely colors and impressions. SOLD
37. [PRINT ALBUM] Takeuchi SEIHÔ. SHINA FÛKÔ ZU-E. [Kyoto, Ôtsuka Minoru, Shôwa 11 - 1936; 1 of 150cc]. Large portfolio 43 x 54 cm. Twelve prints of China [ea. 32 x 43 cm image size] Wonderfully well printed using a hybrid of collotype with woodcut printed color overlays. In an edgeworn, clasped, cloth-over-boards portfolio with printed silk title label. The prints are tipped onto backing mats and covered with tissue. The tissue is foxing, but only the last print shows the effect. Overall quite good condition for this fragile and very scarce item. Baldinger in his article about Seihô mentions this series as complete in 12 (of a total of 36 projected) images. Displayed in Europe, one of the original paintings (Rain at Soochow) won Seihô membership in the Legion of Honor. Ôtsuka Kôgeisha was known for its remarkable technical virtuosity in capturing in prints the delicacy of watercolor paintings. Done about the same time that Unsôdô, using similar techniques, was publishing Seihô's IPPINSHÛ portfolio. $4,750.00
38. [SKETCHTOUR ALBUM] Ôtani Sonyû. GOZAN SOSUI. [Kanao Bun'endô, Tokyo, 1921] Oblong 4to in size, 22.3 x 30.7 cm, green brocade over board covers, printed paper title label. Prefatory printed calligraphy by Tomioka Tessai and 41 prints designed by Sonyû, a recognized artist and priest at Nishi Honganji Temple in Kyoto. The table of contents only calls for 40 prints, our copy has two versions of the same scene with the same printed title, in very different styles at Pages 16 and 17. A beautiful set of views of China - this is the color woodcut album which was originally accompanied by a facsimile of the travel diary that his brother, the Abbott of Nishi Honganji, kept on their joint journey through China depicted herein. Very scarce, wonderfully well printed. The covers are worn on the outside, but the images are clean and lovely. The album is complete in itself but without the diary. $2,850.00
39. [SKETCHTOUR BOOK]. JÛNIN SHASEI RYOKÔ. Tokyo: Kashima Chôjirô [Kôbunsha], Meiji 44 . 5th printing of 1912. Printed paper over boards, cloth spine, gilt. Small 8vo., 19.3 x 12.8 cm. See Johnson's article in ANDON p. 15 for an extensive description of this book's importance. With 10 zincographs, 2 lithographs, 18 photo-lithographs and 4 color woodcuts, along with many halftones, both black and white and color. An important and interesting book, which centers on verbal and pictorial representations of the Inland Sea area. The artists (and authors) were Kawai Shinzô, Ôshita Tôjirô, Mitsutani Kunishirô, Yoshida Hiroshi, Nakagawa Hachirô, Kosugi Misei, Nakamura Fusetsu, Kanokogi Takeshirô, Takamura Shimpu and Ishii Hakutei. The contents are slightly foxed. But overall this is a very good copy of this hard-to-find work. $450.00
40. [SKETCHTOUR BOOK] KANAO Tanejirô, publisher. KINAI KEMBUTSU. 3 volumes: YAMATO, KYOTO, and OSAKA. 22.8 x 15.4. (Larger than most examples of the genre.) Bound western style in printed paper covered boards (without the printed slipcases). T.E.G. For details on the importance of this work, see Scott Johnson's article in "ANDON 37," pp. 21-25. Aside from one foldout color woodcut and a few reproductions of paintings by Asai Chû, the illustrations are by Nakazawa Hiromitsu (1874-1964), probably the most important single artist of the "sketch-tour" genre. There is a grand total of 57 hand-printed woodcuts in the three volumes, as well as many collotypes and half-tones. Nakazawa, himself, as well as such literary lights as Yosano Akiko, the famous poetess, provided the text. This set consists of a first printing of the Osaka (1912) volume and second printings of the Kyoto and the Yamato volumes. The printing runs were very small and the book never sold particularly well (the third volume cost three yen, a considerable sum in 1912!). Complete sets are unusual. Our set is very lovely, save that there is a bit of fading, rubbing and skinning to the covers. Enclosed in a contemporary clasped chitsu. $1,250.00
41. [SKETCHTOUR BOOK] KINAI ANGYA. Kanao Bun'endô, Taishô 8  Thick 8vo., flexible printed pictorial covers, 35; 959 + colophon & ads. (The extensive ads make up a useful bibliographical resource on Bun'endô.) First printing of this interesting work - the artists include Nakazawa Hiromitsu, Mizushima Nihou, Nabei Katsuyuki, Katô Seiji, Shima Seien and Yamaguchi Sohei. The writers are an eminent group: Yosano Akiko, Kambara Ariake, Takahama Kyoshi, Katô Hekigotô and Aoki Gettô. The book resembles the SANYÔ ANGYA and the OFUDA ANGYA. With the usual Bun'endô eclectic mix of color woodcut, lithography, halftone, zincograph, collotype, etc. This copy is very slightly foxed, with the original slipcase. Overall, a lovely copy of this important and scarce work. $650.00
42. [SKETCHTOUR BOOK] Mizushima Nihô, artist and author. TÔKAIDÔ GO-JÛSAN TSUGI SETONAIKAI KIKÔ. Tokyo: Kanao Bun'endô, Taishô 9 . First Printing. 8vo. Printed paper over boards, cloth spine, gilt. With many color and black and white illustrations done in several media [for details see Scott Johnson's article in ANDON]. Near perfect condition in the scarce original printed slipcase. Complete as issued. SOLD
43. [SKETCHTOUR GENRE] Fukuda Bisen, artist. SHINA TAIKAN. Tokyo, Taishô 6 "Saihan" ["Second Impression"] 1917. 2 volumes, oblong folio, 23.4 x 31.4 cm. Scott Johnson in his seminal article on the sketchtour genre in ANDON 37, has called this work "the most ambitious of all the sketch-tour books." It is a remarkable tour de force of printing, full of wonderful illustrations of contemporary China, including many full color woodcuts, printed by the estimable Nishimura Kumakichi. It is well known that Kanao Tanejiro, the publisher, suffered financially because of the investment he made in this book, which never sold in any quantity because of the huge price he was forced to place on it: 35 Yen. Our copy would appear to be one of the re-issued versions which saw the light of day a few months after the Kanao Bun'endô issue was released. The colophon credits Tokyo Times of Tokyo as the publishing house, while acknowledging Kanao as the publisher. Kanao had relationships throughout the newspaper business and this must have represented an effort to salvage his business (at least one other copy exists from the same time with the colophon crediting yet another newspaper publisher). This set is hardly ever found, and when found the lovely woodblock-printed covers have usually suffered. Our copy has the original wraparound chitsu case, repaired and a bit soiled. Some internal foxing, but overall a good set, complete, of one of the most important works of the sketchtour genre: $1,850.00
44. [SKETCHTOUR GENRE] Fukuda Shûtaro [Bisen], artist. SHINA SANJÛ-GAKAN. Tokyo, Kanao Bun'endô, Taishô 9 . 2 volumes, oblong folio, 23.2 x 31.2 cm. A few years after Bun'endô had published the justly famous SHINA TAIKAN by the same artist, the publisher, Kanao Takejiro, assembled the same group of artisans (including the master printer, Nishimura Kumakichi) to craft another "take" on the scenery of China - a series of 30 "scrolls" in color woodcut embedded in a narrative shot through with a multitude of illustrations in other media. Scott Johnson in his seminal article on the sketchtour genre in ANDON 37, has called SHINA TAIKAN "the most ambitious of all the sketch-tour books." The SHINA SANJÛ-GAKAN is certainly no less of an impressive achievement (and a much scarcer book). Enormously expensive to produce (it was priced at 50 Yen, impressive even by the inflationary standards of the time!) few were sold and this set is hardly ever found. Our copy has the original wraparound chitsu case with clasps intact. The chitsu itself is a work of art, depicting junks on a river. With a bit of internal foxing and a hint of hinge weakening, but overall a very nice set, complete, of an important and scarce work in the sketchtour genre: SOLD
45. [SKETCHTOUR GENRE] Kanao Bun'endô, publisher. HANSHIN MEISHO-ZUE. A folding album of 24 (of 30) prints - ôban size color woodcut, printed by Nishimura Kumakichi and published by Kanao Bun'endô in 1916,17. The finest of all of Bun'endô's remarkable porfolio productions, the HANSHIN MEISHO ZUE is a great rarity, even individual prints from the series of 30 are by no means common. We are missing only prints #7, 21-25 (6 in all). There are two prefatory pages, one is a map of the trip around western Japan depicted herein, the other a table of contents. Also, one of the Akamatsu Rinsaku designed portfolio cover prints has been mounted as preface to the whole series, while four others have been trimmed and mounted on two pages at the end. The artists who designed the prints were Akamatsu Rinsaku (1878-1953), Noda Kyuhô (1879-1971), Hata Tsuneharu (1883-? ), Mizushima Nihou (or Nihofu) (1884-1958) and Nagai Hyosai (1882-1945). For more on this remarkable work, see Charles Mitchell's article in ESSAYS ON JAPANESE ART PRESENTED TO JACK HILLIER. Our copy is very clean in a new brocade over stiff paper covers with a hand-brushed title label. There is a bit of foxing, but it is confined to the stubs upon which the prints are mounted. The images themselves are lovely and extremely well-printed. $6,500.00
46. [SKETCHTOUR GENRE] NAKAZAWA Hiromitsu, artist. NIHON TAIKAN. [Views of Japan] Tokyo: Bun'endô, 1922. 38 x 27 cm, oblong folio in size. 50 single sheet color woodblock prints of views, primarily in the Kyoto/Osaka area, with prefatory descriptions, in a tied portfolio with a woodblock cover. This massive work was undertaken by Kanao Tanejirô of the important publisher Bun'endô. His earlier HANSHIN MEISHO ZUE had been a departure for the book publisher Kanao into a new field - oban size print portfolios. NIHON TAIKAN was a direct challenge to the primacy of Watanabe in the field of shin hanga prints and an effort to redirect the genre away from its emphasis on bijin and the like. For this effort, he assembled some of the best printers and engravers of the day, Nishimura Kumakichi and Okada Seijirô, and combined their talents with those of the artist Nakazawa Hiromitsu. Hiromitsu's work is at its best here. Less stiff than that of Hasui or even Yoshida, it carries the recreation in woodcut of the "feel" of watercolor to new heights. (See Scott Johnson on the 'Sketchtour' genre for more on Bun'endô and Hiromitsu.) In any case, this most ambitious of Bun'endô's landscape productions is also the rarest. Completed the year before the great earthquake and fire of 1923, all the unsold sets of NIHON TAIKAN and the blocks themselves were lost and Bun'endô moved to Kyoto in an attempt to restore the company fortunes. This set of prints is very well-printed, though the preliminaries are a bit foxed. There is occasional marginal foxing to the prints as well, not effecting the images. The original portfolio is a bit worn, but intact. Rare: $7,500.00
47. [SKETCHTOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI. Osaka & Tokyo, Kanao Bun'endô, publisher. Taishô 14 . Oblong portfolio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijirô and the printers were Ôkura, Nishimura, et al. Kanao Takejirô's only portfolio project undertaken in the twenty years between the time he moved from Tokyo after the disastrous earthquake and the immediate aftermath of the Pacific War. There are nine color woodblock printed preliminary pages, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the scenes depicted, (in Japanese). A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre. A set in very nice condition, with only very mild foxing to the preliminaries and finals, in the original inner and outer printed covers (approx. 16" x 10.75"). The prints are well-printed (in the light crumbly style meant to capture the essence of Hiromitsu's watercolors) and in very good condition. Complete: $4,250.00
48. [SKETCHTOUR GENRE] NAKAZAWA Hiromitsu, artist. SAIGOKU SAN-JÛ-SAN-SHO JUNREI EMAKI. Kyoto, Kanao Bun'endô, publisher. Shôwa 21 . Oblong folio of ôban size woodblock prints after designs by Hiromitsu, detailing the famous pilgrimage sites (and sights) in western Japan. The blocks were cut by Okada Seijirô and the printers were Nishimura Kumakichi and Takagi Kiyomitsu. This portfolio project was initially completed and printed in 1925. This edition, printed from the same blocks at the very end of Kanao's life, was obviously issued as a companion piece to the THIRTY-SIX VIEWS OF OSAKA, which Kanao also published in 1946. The colors of the original 1925 edition were quite a bit more light and "crumbly" than the bolder colors used in this printing, which accord with that used in the Osaka series. (I personally like this bolder approach to Hiromitsu's work.) There are eleven color woodblock printed preliminary pages, a table of contents page, 37 pilgrimage views, a final portrait of Hiromitsu by an artist friend, and eleven typeset caption pages, explaining the pilgrimage sites, (in Japanese). A lovely and very important series of images, produced by the most important publisher of the "sketchtour" genre. A set in very nice condition, bound into the original printed covers (approx. 25 x 36.7 cm). Complete, in a tied chemise case. $3,250.00
49. [SKETCHTOUR GENRE] Ôtani Sonyû & Iguchi Kashû, artists. TOKAIDÔ GOJÛSAN-TSUGI EMAKI. Kyoto Taishô 11 . Eight handscrolls with woodcut coloring over collotype, complete. The scrolls have bone jiku with brocade covers and sumi over gold title labels.
Congratulatory inscriptions by Otani Kôzui (then Abbot of Nishi Hoganji and Sonyû's older brother), Tomioka Tessai, dated 8th month of Taishô 8, "at the age of 88" and Zen artist Hashimoto Dokuzan, dated September 22, Taishô 8. The pictures of the stations of the old Tôkaidô alternate between Sonyû and Kashû. Most station names are well known, but there are alternate local names, and in some cases other place names are itemized parenthetically.
Station One: Nihonbashi by Sonyû. A night scene, with department stores, pedestrians, streetcars and, prominently, a black motor car.
Station Two: Shinagawa by Kashû.An early morning panorama, lights on in village houses, fishing boats still moored, a steam dredge, distant steamships.
Station Three: Kawasaki by Sonyû. Tourists and locals stroll along the shop-lined country road.
Station Four: Kanagawa by Kashû. In the foreground, loading docks and warehouses. On the distant shore, factories, a quiet village. A passenger liner and freighters of all descriptions and sizes crowd the harbor.
Station Five: Hodogaya by Sonyû. A birds-eye view of the hills and farm fields in the distance, a quiet village of thatched-roof dwellings.
Station Six: Totsuka by Kashû. A village flanking the Tôkaidô, a farmer walking a cow and calf.
Station Seven: Fujisawa by Sonyû. Beneath a crescent moon, a man with a lantern walks away from a dark temple.
Station Eight: Hiratsuka by Kashû. Birds-eye view of a long wooden bridge over the Sagami River in late summer rain.
Station Nine: Oiso by Sonyû. The Izu peninsula across the bay, coastal pines and inns for tourists in the foreground, a woman with a parasol enjoying the view.
Station Ten: Odawara by Kashû. A black touring car drives by a shrine gate and wall.
Station Eleven: Hakone ("the old road to Ashinoko") by Sonyû. An open touring car passes a tourist being carried in a kago on the approach to Ashinoko village. A reflection of Mount Fuji in the lake.
Station Twelve: Mishima by Kashû. A mountain scene, seamlessly blended out from the preceding, leading down to thatched-roof dwellings, which trail out below; above, a night scene of the town of Mishima.
Station Thirteen: Numazu ("Kanogawa") by Sonyû. Farmers with a handcart and a horse-drawn wagon approach a bridge over the river.
Station Fourteen: Hara by Kashû. Farmland on a mountainside.
Station Fifteen: Yoshihara ("Mt. Fuji") by Sonyû. Mt. Fuji in deep blue, with gold-fringed clouds.
Station Sixteen: Kambara by Kashû. A quiet fishing village, the boats all beached for the night, nets hung out to dry.
Station Seventeen: Yui by Sonyû. The Tôkaidô and two railway tunnels hug the coast.
Station Eighteen: Kôzû by Kashû. A coastal watchtower.
Station Nineteen: Ejiri by Sonyû. A spit of pines by the bay, a single freighter and Mt. Fuji in the distance.
Station Twenty: Fuchû by Kashû. Women in a roadside tea-stall look hopefully at two approaching foreign walkers a farmers haul local produce by horse-drawn wagon.
Station Twenty-one: "Komako" by Sonyû. Beneath hillside fields, a bamboo grove sheltering a village.
Station Twenty-two: Okabe ("Utsu no Yama") by Kashû. A village in a valley, in the foreground the entrance to a tunnel.
Station Twenty-three: Fujieda by Sonyû. Beneath misty willows, men fish.
Station Twenty-four: Shimada by Kashû. Smoke from a sawmill behind massive stacks of cut lumber.
Station Twenty-five: Kanaya ("Oikawa") by Sonyû. A birds-eye view of the river with its steel railway bridge, the top of Mt. Fuji in the distance.
Station Twenty-six: Nissaka ("Sayo no Nakayama") by Kashû. A small enclosure at the crest of a mountain pass, another mountain slope opposite.
Station Twenty-seven: Kakegawa by Sonyû. A woman opens lacquered umbrellas to dry in the sun while two other women wash clothing in a stream.
Station Twenty-eight: Fukuroi ("Akibayama") by Kashû. Mountains rising above clouds.
Station Twenty-nine: Mitsuke ("Tenryûgawa") by Sonyû. A birds-eye view of the wide river, with fishing boats on the right, log rafts on the left and side-wheel pleasure boats for tourists in the middle.
Station Thirty: Hamamatsu by Kashû. Open cars full of local produce wait on a siding, while a road crew picks up coal beside an old switch engine.
Station Thirty-one: Maisaka by Sonyû. People dig for shellfish on tidal flats in the foreground, a wide view of the Tôkaidô footbridge, a railway bridge beyond, biplanes circling above.
Station Thirty-two: Arai ("Hamanako") by Kashû. A train crosses a railway bridge; in the foreground, a coastal village inside the Hamanako lagoon.
Station Thirty-three: Shirasuga ("Shiyomizaka") by Sonyû. The Tôkaidô winds up among ancient pines; in the distance, the Hamanako lagoon.
Station Thirty-four: Futakawa by Kashû. A horse-drawn wagon starts off, the driver acting as a guide for the tourists inside, while other wagons and jinrikisha await customers from nearby inns.
Station Thirty-five: Yoshida ("Toyohashi") by Sonyû. Log rafts being collected along the banks of the Toyo River, sawmills and warehouses beyond on the far bank.
Station Thirty-six: Goyû by Kashû. People watch from slate-roofed dwellings as a military unit on summer training passes through the village.
Station Thirty-seven: Akasaka by Sonyû. The roadway, concealed by massive pines, leads to a valley village.
Station Thirty-eight: Fujikawa by Kashû. Tea is picked and carried in baskets into the village.
Station Thirty-nine: Okazaki by Sonyû. A steel bridge leads to a factory town on the opposite shore of the Yahagi River.
Station Forty: Chiriyû ("Yatsuhashi") by Kashû. Tourists stroll under a wooden walkway.
Station Forty-one: Narumi by Sonyû. A postman on a bicycle approaches the workplace of a family of dyers; colorful cloth hung to dry in streamers.
Station Forty-two: Miya ("Atsuta") by Kashû. From the wide expanse of Eastern Ise Bay, the coastal factory town of Miya.
Station Forty-three: Kuwana by Sonyû. Dusk as people crowd the wharfside beneath a shrine gate in Kuwana on the Western side of Ise Bay.
Station Forty-four: Yokkaichi by Kashû. A night scene with river bridges, dwellings and cargo boats at rest.
Station Forty-five: Ishiyakushi by Sonyû. A woman carrying brushwood strolls by an isolated temple.
Station Forty-six: Shôno by Kashû. Tall pines line the way, the village in the distance.
Station Forty-seven: Kameyama by Sonyû. Bamboo in the foreground flanks the way leading past farm fields up a hill to the town; flocks of crows above.
Station Forty-eight: Seki by Kashû.
Station Forty-nine: Sakanoshita by Sonyû. A panorama of fog-filled valleys and wet mountain forests, with a tiny village in the deepest valley.
Station Fifty: Tsuchiyama by Kashû. The narrow village lines the way as soft rain falls.
Station Fifty-one: Minakuchi by Sonyû. An off-duty guide carries a bucket of water as a horse feeds in an adjacent shed, its roofed wagon nearby.
Station Fifty-two: Ishibe by Kashû. Wind and rain bend a bamboo grove as three men push and pull handcarts.
Station Fifty-three: Kusatsu by Sonyû. The village overlooks the rounded shape of Omi Fuji and rainswept Lake Biwa.
Station Fifty-four: Otsu by Kashû. Tourists at Ishiyama Temple look down on the town and Lake Biwa beyond.
Station Fifty-five: Sanjô Ohashi by Sonyû. People sheltered by umbrellas cross the bridge as a distant streetcar heads toward Higashiyama.
Artists' signatures, Otani Sonyû and Iguchi Kashû, with accompanying seals, dated August of Taishô 8 (1919) and identified as a "collaborative handscroll." Inscription printed in English: "A great Highway is an Artery through which pulses the Life-blood of a Nation, Taishô 8.9.19 Frederick Starr." Frederick Starr is, of course, associated with the sketchtour movement.
Colophon: Endnote. Date of publication Jan. 15, Taishô 11 (1922). Price: 500. Artists: Otani Sonyû and Iguchi Kashû. Publisher: Nakamura Taikan. Printer: Motohashi Sadajirô. Publishing House: Nihon Taikan-sha.
It goes without saying that the price of 500 yen (at the time worth about US $200 in gold), a shocking amount, was reflective of the enormous costs associated with the project. The use of collotype as the "shita-e," then over-printing with heavy opaque mineral pigments time and again to derive the rich palette of the finished scrolls was not a method conducive to economy. The publisher went bankrupt soon after the appearance of the Tokaido set. One can only assume that the Kanto earthquake destroyed most of the sets that had been sold to the main market, Tokyo. Research indicates that there are very few sets in existence. Our copy is enclosed in its original black lacquer box, gilt with the title and is complete as such in a protective outer box. The scrolls are in very good condition, with some restoration, and very minor foxing to a few stations only. Literally hundreds of feet of remarkable images. (See Roger Keyes' extensive description of this major discovery in his catalogue of the recent NYPL exhibition of EHON). SOLD