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Hikifuda of women and children shopping.
n.p. [1931]. colour broadside 53x38cm. Folded, with stab holes indicating it was once in an album.
¶ A vivid and heart warming portrait of the urban well-to-do and the rewards of being well-to-do: modernity and shopping. It can be seen as mother daughter life lessons. Many such images in Japan are moral lessons, showing girls and young women their compensation for being good. These hikifuda - small posters or handbills - were usually produced with a blank text panel. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1932.
¶ A vivid and heart warming portrait of the urban well-to-do and the rewards of being well-to-do: modernity and shopping. It can be seen as mother daughter life lessons. Many such images in Japan are moral lessons, showing girls and young women their compensation for being good. These hikifuda - small posters or handbills - were usually produced with a blank text panel. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1932.
Richard Neylon, BooksellerProfessional sellerBook number: 10583
AUD 125.00 [Appr.: EURO 77 US$ 83.78 | £UK 66 | JP¥ 13046]
Keywords: graphic art advertising posters hikifuda c20th Japan Asia modernism women feminism transport fashion children
Hikifuda of lucky gods driving a motor car.
n.p. [1911]. Colour lithograph and woodcut 52x38cm. Stab holes in the margin show it was once in an album. Horizontal fold; quite good. The picture is lithographed, the calendar woodcut.
¶ An extra psychedelic extravaganza in experimental colour showing lucky god Ebisu being chauffered by Daikokuten. These two did embrace modernity and had very good tailors as can be seen when the occasion demanded a smart suit or an even more smart uniform. Here they haven't dressed; it's just two friends on an outing. Maybe a joyride. I wonder whether it was good luck to have these two snaffle your car. These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1912.
¶ An extra psychedelic extravaganza in experimental colour showing lucky god Ebisu being chauffered by Daikokuten. These two did embrace modernity and had very good tailors as can be seen when the occasion demanded a smart suit or an even more smart uniform. Here they haven't dressed; it's just two friends on an outing. Maybe a joyride. I wonder whether it was good luck to have these two snaffle your car. These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1912.
Richard Neylon, BooksellerProfessional sellerBook number: 10488
AUD 200.00 [Appr.: EURO 123.25 US$ 134.05 | £UK 105.5 | JP¥ 20874]
Keywords: graphic art advertising posters hikifuda c20th Japan Asia modernism transport automobiles motor cars motoring
Hikifuda of a woman driving a motor car.
n.p. [1914]. Colour woodcut 52x38cm. Stab holes in the margin showing it was once in an album; a little browned and minor signs of use. Rather good.
¶ An shockingly early picture of a Japanese woman driving a car. Cars and planes were the password for modernity through the Taisho, especially in advertising like this, but sleek women were driven by sleek husbands or chauffeurs. This is radical stuff. It's not until well into the twenties that women behind the wheel became common. Common but not really acceptable. Cars were driven by Mogas - modern girls - louche young women with bobbed hair and short skirts, flappers. The history of early Japanese women motorists, in English, is blank. Can some expert out there help? These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1915.
¶ An shockingly early picture of a Japanese woman driving a car. Cars and planes were the password for modernity through the Taisho, especially in advertising like this, but sleek women were driven by sleek husbands or chauffeurs. This is radical stuff. It's not until well into the twenties that women behind the wheel became common. Common but not really acceptable. Cars were driven by Mogas - modern girls - louche young women with bobbed hair and short skirts, flappers. The history of early Japanese women motorists, in English, is blank. Can some expert out there help? These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. The handy calendar is for 1915.
Richard Neylon, BooksellerProfessional sellerBook number: 10489
AUD 500.00 [Appr.: EURO 308 US$ 335.13 | £UK 263.75 | JP¥ 52185]
Keywords: graphic art advertising posters hikifuda c20th Japan Asia modernism women feminism transport automobiles motor cars motoring
Hikifuda of a woman driving a motor car.
n.p. [1912]. Colour woodcut 53x37cm. Old folds, rumpling and a couple of small repairs.
¶ A while ago I offered a 1914 printed hikifuda something like this and asked whether anyone had seen an earlier picture of a Japanese woman driving a car? Now the answer is: I have. Cars and planes were the password for modernity through the Taisho, especially in advertising like this, but sleek women were driven by sleek husbands or chauffeurs. This is radical stuff. It's not until well into the twenties that women behind the wheel became common. Common but not really acceptable. Cars were driven by Mogas - modern girls - louche young women with bobbed hair and short skirts: flappers. The history of early Japanese women motorists, in English, is blank. Can some expert out there help? These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. In this case it was Tamachi Taya of Kaneko-mura. The handy calendar is for 1913.
¶ A while ago I offered a 1914 printed hikifuda something like this and asked whether anyone had seen an earlier picture of a Japanese woman driving a car? Now the answer is: I have. Cars and planes were the password for modernity through the Taisho, especially in advertising like this, but sleek women were driven by sleek husbands or chauffeurs. This is radical stuff. It's not until well into the twenties that women behind the wheel became common. Common but not really acceptable. Cars were driven by Mogas - modern girls - louche young women with bobbed hair and short skirts: flappers. The history of early Japanese women motorists, in English, is blank. Can some expert out there help? These hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed. In this case it was Tamachi Taya of Kaneko-mura. The handy calendar is for 1913.
Richard Neylon, BooksellerProfessional sellerBook number: 10534
AUD 800.00 [Appr.: EURO 492.75 US$ 536.21 | £UK 422 | JP¥ 83496]
Keywords: graphic art advertising posters hikifuda c20th Japan Asia modernism women feminism transport automobiles motor cars motoring
Hikifuda with lucky gods Ebisu and Daikokuten on the telephone.
n.p. [Osaka? 189-?] Colour woodcut 26x38cm. A crooked fold and a few small marks; quite good and bright.
¶ Ebisu and Daikokuten did embrace modernity - or rather, wanted to play with every new gadget and fashion - so naturally they would want to play on the telephone. Surely they had plenty of spirit messengers among their retinues. Apparently public telephones only became available in 1890, until then they were reserved for the government, police and select companies. I can't read the centre panel which tells us who was selling what and I don't understand the signifance of 753 which is the number in both telephone booths and the banner on the right. Something to do with Shichi-Go-San? November 15? Sorry. But there would be no point to this hikifuda unless it was timely, that telephones were brand new, in the same way that this pair were pioneer joyriders in a motor car and donned military uniforms during the Russo-Japanese war. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce.
¶ Ebisu and Daikokuten did embrace modernity - or rather, wanted to play with every new gadget and fashion - so naturally they would want to play on the telephone. Surely they had plenty of spirit messengers among their retinues. Apparently public telephones only became available in 1890, until then they were reserved for the government, police and select companies. I can't read the centre panel which tells us who was selling what and I don't understand the signifance of 753 which is the number in both telephone booths and the banner on the right. Something to do with Shichi-Go-San? November 15? Sorry. But there would be no point to this hikifuda unless it was timely, that telephones were brand new, in the same way that this pair were pioneer joyriders in a motor car and donned military uniforms during the Russo-Japanese war. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce.
Richard Neylon, BooksellerProfessional sellerBook number: 10882
AUD 300.00 [Appr.: EURO 185 US$ 201.08 | £UK 158.25 | JP¥ 31311]
Keywords: graphic commercial art advertising c19th Japan hikifuda trade catalogues modernism technology communication telephones meiji
Hikifuda of a modern couple in an elaborate cockerell balloon basket above an exposition or fair; the brash young woman waving a Japanese flag.
n.p. [190-?]. 36x25cm colour lithograph. Browning but pretty good.
¶ Such overtly enthusiastic and active women are not so common in Japanese pictures. The navy ships in the bay make me think this marks one of Japan's victories - the 1904 war with Russia or the 1894 win against China. The fashions push the date back but Hikifuda artists didn't always worry about such details unless the target was fashion. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce.
¶ Such overtly enthusiastic and active women are not so common in Japanese pictures. The navy ships in the bay make me think this marks one of Japan's victories - the 1904 war with Russia or the 1894 win against China. The fashions push the date back but Hikifuda artists didn't always worry about such details unless the target was fashion. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce.
Richard Neylon, BooksellerProfessional sellerBook number: 10961
AUD 300.00 [Appr.: EURO 185 US$ 201.08 | £UK 158.25 | JP¥ 31311]
Keywords: graphic art advertising hikifuda c20th Japan modernism balloons aviation fashion exhibitions feminism women meiji
![Hikifuda, Kakkoku taii no yuko hosho-yaku? Hyakudokukudashi : Wajanyu].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10937.jpg "Click to enlarge")
Kakkoku taii no yuko hosho-yaku? Hyakudokukudashi : Wajanyu].
c1900? 40x50cm colour woodcut.
¶ A singular and baffling, to me, handbill or hikifuda for a patent medicine for women that expelled a hundred poisons and cured ailments that any woman was likely to suffer. It's the villain in the corner that stumps me. Since I can't read the text I have no idea who he is nor what he is doing. My first guess is that he is threatening to tie the young woman to the railroad tracks but I'm sure this predates any American film serials that could have arrived in Japan. So is he a traditional stage villain or does he do something else in Japan? Surely he isn't one of the many great foreign doctors who guarantee Wajanyu or Heshun Tang, which seems to be a traditional Chinese medicine. But ... he is ordering her and us to pay attention. According to Ernest Clement, in a 1907 article on medical folk-lore in Transactions of the Asiatic Society of Japan, in 1896, in Tokyo alone, there were 1401 registered inventors of patent medicines, 5145 vendors, 42,533 quack doctors and 5137 qualified medicos.
¶ A singular and baffling, to me, handbill or hikifuda for a patent medicine for women that expelled a hundred poisons and cured ailments that any woman was likely to suffer. It's the villain in the corner that stumps me. Since I can't read the text I have no idea who he is nor what he is doing. My first guess is that he is threatening to tie the young woman to the railroad tracks but I'm sure this predates any American film serials that could have arrived in Japan. So is he a traditional stage villain or does he do something else in Japan? Surely he isn't one of the many great foreign doctors who guarantee Wajanyu or Heshun Tang, which seems to be a traditional Chinese medicine. But ... he is ordering her and us to pay attention. According to Ernest Clement, in a 1907 article on medical folk-lore in Transactions of the Asiatic Society of Japan, in 1896, in Tokyo alone, there were 1401 registered inventors of patent medicines, 5145 vendors, 42,533 quack doctors and 5137 qualified medicos.
Richard Neylon, BooksellerProfessional sellerBook number: 10937
AUD 150.00 [Appr.: EURO 92.5 US$ 100.54 | £UK 79.25 | JP¥ 15656]
Keywords: graphic art advertising Japan modernism quack patent medicine herbalism hikifuda meiji
![Hikifuda., [Kisha Seki Suiriku Nimotsu Unso Toriatsukaijo].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10262.jpg "Click to enlarge")
[Kisha Seki Suiriku Nimotsu Unso Toriatsukaijo].
n.p. [c1904]. Colour lithograph 37x52cm. Old folds.
¶ Freudians, symbolists and students of gay innuendo of the last century, eat your hearts out. Our artist beat you to every punch by years. The train may have left the cannon but the banner and torpedo suggest that another could be along soon. This patriotic hikifuda - large handbill or small poster - advertising a transport company must date to the Russo-Japanese war.
¶ Freudians, symbolists and students of gay innuendo of the last century, eat your hearts out. Our artist beat you to every punch by years. The train may have left the cannon but the banner and torpedo suggest that another could be along soon. This patriotic hikifuda - large handbill or small poster - advertising a transport company must date to the Russo-Japanese war.
Richard Neylon, BooksellerProfessional sellerBook number: 10262
AUD 300.00 [Appr.: EURO 185 US$ 201.08 | £UK 158.25 | JP¥ 31311]
Keywords: graphic art advertising hikifuda c20th Japan modernism military sex
A large hikifuda - handbill - or modest poster for Kyoto haberdashery bargain sales.
n.p. [Osaka c1902]. Colour lithograph 37x26cm. An outstanding copy.
¶ This splendidly flamboyant and assertive modern young Japanese woman is unlike any other I've seen from this period. Being able to decipher phrases like "bargain sale" but unable to decipher the trademark or any particular merchant's name here I suspect this is a sample produced by or for Kyoto silk merchants and haberdashers. Being on much heavier paper than usual for hikifuda clinches the matter for me.
¶ This splendidly flamboyant and assertive modern young Japanese woman is unlike any other I've seen from this period. Being able to decipher phrases like "bargain sale" but unable to decipher the trademark or any particular merchant's name here I suspect this is a sample produced by or for Kyoto silk merchants and haberdashers. Being on much heavier paper than usual for hikifuda clinches the matter for me.
Richard Neylon, BooksellerProfessional sellerBook number: 10007
AUD 450.00 [Appr.: EURO 277.25 US$ 301.62 | £UK 237.5 | JP¥ 46967]
Keywords: graphic art advertising posters hikifuda textiles costume fashion c20th Japan Asia modernism women feminism
Large hikifuda of a boy flying his mother in a monoplane.
n.p.n.d. (1914). Colour lithograph 53x38cm. Stab holes in the top margin, catalogue number on the back, showing it was once in a specimen book. Folded rather than creased.
¶ That woman and child are modelled on the crown princess and her first son - Hirohito - as they were a few years before. She is adventurous enough to go skylarking but still the boy must drive. Around and below are most of the things that make Japan Japan - cherry blossoms, industry and Fuji. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce. This one is double the standard size; the timetable or calendar is for 1915.
¶ That woman and child are modelled on the crown princess and her first son - Hirohito - as they were a few years before. She is adventurous enough to go skylarking but still the boy must drive. Around and below are most of the things that make Japan Japan - cherry blossoms, industry and Fuji. Hikifuda - small posters or handbills - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce. This one is double the standard size; the timetable or calendar is for 1915.
Richard Neylon, BooksellerProfessional sellerBook number: 10911
AUD 200.00 [Appr.: EURO 123.25 US$ 134.05 | £UK 105.5 | JP¥ 20874]
Keywords: graphic commercial art advertising c19th Japan hikifuda trade catalogues modernism printing aviation meiji
![Hikifuda., [Natori-gawa Shoyu Hatsubai-Moto].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10165.jpg "Click to enlarge")
[Natori-gawa Shoyu Hatsubai-Moto].
n.p. [190-?]. Colour lithograph 52x39cm. A bit creased or rumpled with a couple of closed marginal tears; a pretty good copy.
¶ I presumed this exquisite modern young woman was advertising kimono silk and perhaps she does in other examples of this advertising handbill cum poster. These things were usually produced with a blank space for a business to print, sometimes write in, their products and details. Here, she is advertising a Natori-gawa soy sauce distributor. Natori-gawa is the river near Sendai in north east Honshu.
¶ I presumed this exquisite modern young woman was advertising kimono silk and perhaps she does in other examples of this advertising handbill cum poster. These things were usually produced with a blank space for a business to print, sometimes write in, their products and details. Here, she is advertising a Natori-gawa soy sauce distributor. Natori-gawa is the river near Sendai in north east Honshu.
Richard Neylon, BooksellerProfessional sellerBook number: 10165
AUD 250.00 [Appr.: EURO 154 US$ 167.56 | £UK 132 | JP¥ 26093]
Keywords: graphic art advertising hikifuda Japan c20th modernism textiles fashion costume telephones
![Hikifuda., [Niimura Shoten ... Shimosuwa Kinoshita ... Wayo Orimonosho ...].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10224.jpg "Click to enlarge")
[Niimura Shoten ... Shimosuwa Kinoshita ... Wayo Orimonosho ...].
n.p. [1900]. Colour woodcut 26x38cm. Minor stain, really only noticeable in the bottom margin.
¶ This smart hikifuda - large handbill or small poster - advertises, I think, the Shimosuwa department store Niimura Shoten where they sell Japanese and western textiles. Shimosuwa is a town in Nagano, east of Tokyo. There are Niimura department stores still in a few towns around Japan but I suspect that it is a common name; it translates more or less as 'New Town'. This is also a tribute to modern transport and a helpful train (and ferry?) timetable for 1900 is provided.
¶ This smart hikifuda - large handbill or small poster - advertises, I think, the Shimosuwa department store Niimura Shoten where they sell Japanese and western textiles. Shimosuwa is a town in Nagano, east of Tokyo. There are Niimura department stores still in a few towns around Japan but I suspect that it is a common name; it translates more or less as 'New Town'. This is also a tribute to modern transport and a helpful train (and ferry?) timetable for 1900 is provided.
Richard Neylon, BooksellerProfessional sellerBook number: 10224
AUD 250.00 [Appr.: EURO 154 US$ 167.56 | £UK 132 | JP¥ 26093]
Keywords: graphic art advertising hikifuda Japan c20th modernism fashion costume transport trains
![Hikifuda., [Rokujinmaru aputo - Toyama Seizai Kabushikigaisha].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10709.jpg "Click to enlarge")
[Rokujinmaru aputo - Toyama Seizai Kabushikigaisha].
Toyama Pharmaceutical [191-?]. Three lithographs 39x18cm each.
¶ A trio of carols to modernity, the future and whatever it is that Rokujinmaru does. Some sort of herbal medicine, presumably it makes children joyous, smart and eager to speed into the future.
¶ A trio of carols to modernity, the future and whatever it is that Rokujinmaru does. Some sort of herbal medicine, presumably it makes children joyous, smart and eager to speed into the future.
Richard Neylon, BooksellerProfessional sellerBook number: 10709
AUD 300.00 [Appr.: EURO 185 US$ 201.08 | £UK 158.25 | JP¥ 31311]
Keywords: graphic art advertising trade catalogues drugs medicine c20th Japan Asia modernism hikifuda
![Hikifuda., [Shinshu Matsumoto Higashimachi Uetei].](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda10371.jpg "Click to enlarge")
[Shinshu Matsumoto Higashimachi Uetei].
n.p. [c1900?]. Woodcut broadside 28x24cm. A nice copy.
¶ An intriguing and to me mysterious handbill from Matsumoto - a city in the Nagano prefecture in central Honshu. It seems clear it offers - in some rustic, or perhaps reverse way - what the well dressed man needs. Superior quality is promised but I'm stumped by all those series of numbers. They don't make sense as measurements to me.
¶ An intriguing and to me mysterious handbill from Matsumoto - a city in the Nagano prefecture in central Honshu. It seems clear it offers - in some rustic, or perhaps reverse way - what the well dressed man needs. Superior quality is promised but I'm stumped by all those series of numbers. They don't make sense as measurements to me.
Richard Neylon, BooksellerProfessional sellerBook number: 10371
AUD 100.00 [Appr.: EURO 61.75 US$ 67.03 | £UK 52.75 | JP¥ 10437]
Keywords: graphic art commerical advertising hikifuda c19th c20th Japan modernism fashion costume
![Hikifuda., [Shoyu Shio Sumi ...]](https://www.antiqbook.com/images/AB_images/n/ney_Hikifuda11010.jpg "Click to enlarge")
[Shoyu Shio Sumi ...]
np [190-?]. Colour lithograph 25x37cm. Pretty good.
¶ An almost average street scene in late Meiji Japan but: without the telegraph poles and power lines, bowler hats and cyclist it could be a street scene generations earlier. Hikifuda - small posters or handbills often handed out as seasonal gifts - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce. This one, from a Nishinomiya (between Osaka and Kobe) dealer, indeed sells soy sauce, salt, sake and charcoal - tradition kept alive in the modern world.
¶ An almost average street scene in late Meiji Japan but: without the telegraph poles and power lines, bowler hats and cyclist it could be a street scene generations earlier. Hikifuda - small posters or handbills often handed out as seasonal gifts - were usually produced with the text panel blank. The customer, usually a retailer, had their own details over printed, so the same image might sell fine silk or soy sauce. This one, from a Nishinomiya (between Osaka and Kobe) dealer, indeed sells soy sauce, salt, sake and charcoal - tradition kept alive in the modern world.
Richard Neylon, BooksellerProfessional sellerBook number: 11010
AUD 150.00 [Appr.: EURO 92.5 US$ 100.54 | £UK 79.25 | JP¥ 15656]
Keywords: graphic commercial art advertising c19th Japan hikifuda trade catalogues modernism printing meiji food
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