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Omocha Gafu ããã¡ãç»èOe, 10 Vols
1935. Kawasaki Kyosen 川崎巨泉. Omocha Gafu おもちゃ画oe. 10 vols. Osaka, Shōwa 7-10 [1932-5]. 10 volumes 23.6 x 16.5 cm with printed paper title labels are string-bound Japanese-style, fukuro-toji in decorated wrappers with a wraparound illustration. Vols 4-10 have a numbered label laid down on the front cover. A laid-in, folded sheet that opens to 18 x 39cm has a black and white illustration of a humorous creature, Japanese text and colophon as well as a tipped-in sheet 12 x 7cm with the numbered labels for Vol 1-3 printed in color. Also laid in is a pink sheet with a New Year's greeting in Japanese text dated Showa 8 [1933]. Complete set of this illustrated guide to Japanese playthings. The overall format of each volume is a title page, introductory text, table of contents, explanation of the color woodcuts, color woodcuts, and b+w woodcuts with text for a total of 50 pps, followed by a colophon and final page of text. Each 23.6 x 16.5 cm volume has 4 full page color woodblock-printed plates and one folding double-size woodblock print (in color or b+w), hence 50 in all. The scholarly text in Japanese is heavily illustrated in black and white and explains background history, physical description and place of origin of the toys. Toys illustrated in color include dolls and animals, while toys in b+w include tops, puppets, paddle games, whistles, bells, yoyos, ships, sumo wrestlers and many other playthings, both universal and unique to Japan. Wonderful set; quite informative and of artistic and historical importance. The 10 volumes are in fine condition in a modern, navy chitsu with clasps. Very unusual. .
-- Boeknummer: 88988
USD 3250.00 [Appr.: EURO 2986.5]
Catalogus: Children
Trefwoorden: Japan and East Asia
Posuta
1970. Yamashita Keisuke 山下-
助, artist. Posuta. Privately published. Osaka?]. 1970 - 75. 5 portfolios in paper wrappers approx 31 x 23cm with additional small pieces. Each wrapper has a yellow label printed in black and numbered in red from 1 to 5. Numbered 2 of a limitation of 20 copies. Original woodblock prints and Japanese text. There is a theme to each section, with a color folder within each color folder containing multiple-size woodcuts. Laid-in are large folded sheets with designs and white folded sheets that are similar to a pamphlet that serve as an introduction to the theme and materials within. Also included are 9 small laid-in packets with intricate woodcuts. Handmade paper and original woodblock prints throughout. Artist Yamashita Keisuke 山下-
助 (1913 -77) has created an imaginary world of lettering and images with a medieval sensibility that is simultaneously Old World, fantasy and mythical. His borders are suggestive of Celtic knots but not copies of them. Clearly he draws on visual knowledge of Celtic, Byzantine and Romanesque manuscripts; perhaps the Book of Kells, the Lindisfarne Gospels or the Ebbos Gospels, as well as 16th century northern European woodblock title pages. He is presenting a hidden mythology that refers to many European sources. Although his work mainly has a western aesthetic, there are hints of East Asian influence, particularly in the final section. One print, for example, combines dragon-like creatures in the middle with designs of cherubic faces at the top, while another incorporates shapes that are reminiscent of traditional Thai hats into a Celtic design. His mention of Goethe in the introduction of Folder 1 leads to the interesting choice of the overall format of the grouping. Part Two of Faust consists of five independent acts, just as this has five discrete folders, each with a different theme. And, like Goethe's work Faust, this also appears to be Yamashita's magnum opus, for research reveals only prints and smaller works by him, such as a collection of bookplates also published in 1975. Faust was translated into Japanese in 1913 by Mori Oegai and that edition was considered a gold standard for many years, well known in educated circles. Yamashita was born in the city of Naruto 鳴門市 in Tokushima prefecture 徳
oeOe, and after attending Tokushima Commercial High School 徳
商業, began working at Mainichi Shimbun Newspaper 毎日新聞 in Osaka in 1930. After serving in the military during WWII, he returned to the newspaper in 1945, where he worked for a total of 37 years. In the mid-1960s he studied the art of woodblock prints on his own and began his first Poster (Posuta) collection. Yamashita did all of the design, artwork, block carving and printing of the collection. He and "Poster" are listed in Helen Merrit's book, "Guide to Modern Japanese Woodblock Prints: 1900-1975," p.172, as well as in the June 1974 issue of Hanga Geijutsu 版画芸術 (6) on p. 212. The title of the article is "Hitori Waga Sekaini Asobu ひとりわOeせかいにあそ
" [Playing Alone (in His Own World)]. Folder 1 都会OeOe・尋ね人Oe - has a cream color wrapper with an interior brown paper wrapper. The inside front of the brown wrapper has a large printed, color label printed in black with color designs, the date of 10.70 and Japanese script identifying it as handmade. An inner yellow wrapper 27.2 x 20.2 has a label of the same design as the outer folder, numbered, but done in black ink on brown paper. A printed translucent sheet, decorated and with Japanese text and hanko, is tipped into the inside front cover. An initial folded cream paper, 26.5 x 18.5 that opens to 26.5 x 37cm, serves as an introduction to the artist and key to the overall work. The artist has created his own script. Underneath the script title is furigana as a guide to pronunciation. He explains the origin of the title "Ten Grand Poster;" the "ten" comes from "tengoku 天国" (heaven) and "posuta" comes from the Latin word "posta" referring to message delivery. He relates the latter to the mythological messengers - the Greek god Hermes and the Roman god Mercury. The introduction itself is written like a missive or gazette, with topics numbered 0 (prologue) to 10 followed by an epilogue, printed in handwritten font with 3 laid down designs on the first page and 2 tipped-in designs on the final page, in various fonts and colors ranging in size from 10.5 x 7.5cm to 2 to 4.5cm. Both sides have a light gray design along the bottom of two facing dragons or similar creatures. A black sheet pasted into the center has an intricate tipped in woodcut with Japanese script and "Presse Bibliomane" at the top and "Kikyo Sasaki" at the bottom. A tiny red label is pasted down to the right and says "Tokyo - Sasaki Kikyo Sama" in Japanese script. The reverse has a full page design with script on translucent paper tipped in. The rear inside cover has 4 tipped-in designs. One on translucent paper with the limitation and hanko "け" (ke), likely for Keisuke and below it a printed colophon with a tipped in design at the top, likely another hanko of the artist, with the image of a bunny grinding rice and the text "Tsukuru Hito," which is a way of saying "creator" or "artist." Next to it is a Buddhist iconography design with text printed in gold on blue paper and a small slip with printed text and the "Ke" hanko in red below it. A folded sheet with a design printed in black with Japanese text opens to 42.5 x 28.5cm. The sheet has the rabbit hanko printed in gray in the middle and a red hanko next to it. On the back is a small, tipped-in, green slip with a note about the text printed on the reverse and a reference to "Ten Grand" with the "Ke" hanko. A cream-color sheet folded to 30.5 x 2.3cm has lettering design on the front and is numbered 1; inside is a design across both sheets with Japanese text and the 'ke' hanko. A brown paper folder 30.5 x 23cm has a large decorated label numbered 1 in blue. Inside are 17 monochrome and color woodcuts mounted on the inside front covers and inside on black paper. Most are double or full-page with three smaller ones, the smallest being 12.2 x 9cm. Folder 2 エロス讃Oe・大ゲーテOe [Ode to Eros - Great Goethe] - has a black wrapper 31 x 23cm wrapper with an interior brown paper wrapper. Inside is a green folder 29 x 19.5cm with a red label labeled 2. The inside front wrapper has a color photo of an older man with a cane crouched down on a stone bridge in the middle of a field, likely the artist. The first page is on translucent paper and has a printed design with handwritten Japanese below it and is signed by the author with the date of 5.2.1971 (for the photo) and a hanko. The second page had the same paper with a printed design, Japanese text and handwritten Japanese. The inside back cover of the folder has 2 woodcuts tipped in with the artist's hanko and the date of 1971. Laid-in are 2 folded sheets 27.5 x 18.5cm with 7 laid-down prints in b + w and color. Two are on the subject of Goethe. On the cover and inside are handwritten/printed Japanese text and printed designs. Laid in is a 44.5 x 31.2cm folded sheet with an intricate b+w design and color text with a hanko and the date December 4, 1800. In the rear is a tipped-in sheet with a printed design and handwritten text which seems to explain the text on the other side. It is titled "Festival Jexpoem Guten tag" and has a hanko with the character 'kei' "-
" from the artist's name. A folded page opens to 44 x 30.7cm with a printed title on the front and a number 2 and inside a double-fold print of a hybrid human/animal creature, Japanese text with a quote on art and the same hanko. A thick, tan folder has a large printed label and the number 2. Inside are color and b+w woodcuts: 5 double-page, 6 full-page and 9 smaller prints on multiple pages. Folder 3 - 神-のヘドロ [Divine Sediment] - has a red wrapper with a yellow printed label and the number 3 printed in lavender and an interior brown paper wrapper. A thick, cream folder has a large printed label and black pages with color and b+w woodcuts: 9 double-page, 5 full-page and 3 smaller prints on multiple pages. A cinnamon color folder 29.5 x 21.3cm has a stamped label and the number 3 in red. Inside are two full page designs laid in, one on translucent paper with handwritten/printed text. 2 smaller designs are tipped-in on the diagonal and one on the last page has the date 1972. A laid-in sheet has a laid-in folded sheet with printed designs and text and a tipped-in design on translucent paper with text with the title "Kamigami no Hedoro 神-のヘドロ," [Divine Sediment] and the saying "一切のひと見ろ、一人もみるな." Issai no hito miro, hitorimo miruna ["Look at Humanity, not the individual"]. Laid in are a folded sheet 31.7 x 22cm with a title and the number 3 in blue and a second folded sheet with text on one side and a printed design on the other. Within the printed design is the small "kei" character. Folder 4 - 古譚草詩 [Kotan Sōshi]・丼魚Oe（タンナ）・別冊翻文篇 - has a cream wrapper with a yellow label and the number 4 in red. Inside is a thick tan folder with a large label and the number 4 in green with 2 double-page prints, 17 full-page prints, a fold out sheet with 2 prints and one laid-in print and 2 smaller prints on one page. A large, black sheet of folded paper has folded, laid-in print 30.5 x 43cm. Two other large, folded sheets with designs are laid in: one opens to 43.5 x 30.5 with Japanese words written in romaji and the other opens to 44.5 x 30.7cm. Folder 5 - -嫣紫宴・饗宴篇・別冊-嫣紫宴・コースター詩 - has a black wrapper with a yellow label and the number 5 in red. Inside is a thick gray folder with a large label and the number 5 in yellow. Inside on brown paper are 3 double-page prints and 2 double-page prints that are half size horizontally, 5 full-page designs and 12 small prints on multiple pages. A bright purple folder has a tan label with the number 5 in red and one print each on the inside front and rear covers. The latter gives the date 1975. Laid-in are black pages with 8 small and medium size prints laid down, one translucent page tipped-in and two pages tipped in to center, one on the front and one on the back. Three folded sheets are laid in: one opens to 26.3 x 37cm with a large tipped-in print inside and printed on the front and back, another opens to a 29 x 41.7cm b+w print and the third has a title on the cover with the number 5 in yellow and a print with "Bacchanalia" on the inside. Bacchanalia is a reference to the Roman festival of Bacchus, which was celebrated with much revelry. Laid in are 9 small packets with intricate woodcuts 赤神青神死話 [Aka Kami Ao Kami Shibanashi]・あいきやう他 [Aikyō, etc.] - 1 large, folded sheet of green paper opens to 41.8 x 31.7cm with a printed design that looks like a child's crayon drawing in yellow with the artist's hanko and on the other side a large section of newspaper with the date of May 1968 with multiple prints, in a printed wraparound. 2 sheets folded together approx 26 x 22cm with printed designs, in a wraparound. 14 x 9 paper card with print on one side and small fruit design on the other, in glassine. Large sheet folded into a square 11.2 x 10.5cm with a design and text with hanko opens to reveal a round cardboard "Lacto Ice" [ice cream type] lid with a vintage Disney design and a design on the back, each housed in its own glassine. The inner design appears to be adhered to the glassine. A purple and gold Peace cigarette wrapper folded to 14 x 6.5cm has a printed design of a reclining nude and Japanese text on the reverse white side with a design of a nude printed on a section of a small cardboard box on the other, housed together in glassine. (The Peace logo was designed by Raymond Loewy, who also worked on the design of the well-known Lucky Strike cigarette logo.) A small book 10.5 x 9.2cm has a red wraparound with text printed in yellow around the bottom third and a print with text laid-in on the front cover. There is a title page with text and the date 1975 on the reverse followed by a title page with text and a print, 10 prints inside the book and a print on the final page with the title repeated, housed in glassine. The title reads Akai Kami, Aoki Kami, Shibanashi 赤神 青神 死話 [Red God, Blue God, a Tale of Death.] A play on words, taken from Akaikami, Aoikami 赤紙青紙 (Red paper, Blue paper, an urban legend). A sheet folded to 9 x 8cm with a title and the number 5 in yellow opens to reveal a small book in glassine. The wrappers are made from a Peace cigarette wrapper and decorated with printed art gallery paper with 2 printed designs, one tipped in, and text with the date 1975. The final page has three thin strips of printed paper laid-in. Paper folded to a 10 x 7.7cm rectangle has a color print on the front and [poster (posta)] in Japanese text on the back. It opens to reveal a slightly smaller version of the same front print. Inside is a red and yellow Nittoh tea bag envelope with two separate glassine papers inside, each encasing a round cardboard milk top with Japanese script written on one side and a painting of a Japanese woman on one and a Japanese man on the other. A small slip of lavender paper with printed text 6.5 x .7cm that reads Hiyoku Mame Cosutaa 比翼豆コースター [Happy Couple Miniature Coasters]. With a glassine wraparound. Paper folded to 12.2 x 3cm has a long narrow print on the front and inside is a tipped-in paper with printed design and text. Closed with a tiny red wraparound All pieces are housed in a navy fabric-covered chitsu 36.5 x 24cm with a blank title slip. Chipping to edges of chitsu; artwork is in very fine condition. An extraordinary collection, beautifully imagined and rendered. Additional material - periodical Issue 68 of Korekushon こOeくしょん [Collection] Gallery Gohachi ギャラリー吾-, publisher Tokyo Showa 52 [1977] 17.8 x 15cm staple-bound magazine with beige paper wrappers and printed title on front cover. Front inside cover has a tipped-in illustration of a rabbit on brown paper with "Tsukuru Hito" that Yamashita Keisuke 山下-
助 often used as a hanko. [4] initial folded washi [Japanese paper] sheets that are open at the top form [8] pages and are printed with essays on the recently deceased artist, one by his son, in Japanese text. A glossy sales insert folded to 13.7 x 13.7cm has reproduced photos of Posta artwork as well as text about its creation.The final washi page has 20 red hanko used by the artist. Pages 9-24 are printed on glossy white paper and serve as the publisher's catalog and price sheet, with reproduced images of books, Japanese text and a small colophon on the bottom left of the final page. Inside rear cover has a tipped-in book plate with the name "Minoru Miyamoto." The 68th periodical reference/sales catalog Korekushon こOeくしょん [Collection] produced in 1977 is devoted to a series of essays on the artist Yamashita Keisuke. Korekushon was produced by Gallery Gohachi ギャラリー吾-, the important publisher/book purveyor of livre d'artiste, especially those produced by the Mingei 民芸 and Sosakau Hanga 創oe版画 artists of the post-War period. Yamashita seems to have made quite an impression on those who write about him in the journal. Looking at his work at hand, it is easy to see why. His influences are variously attributed to genres as disparate as Fin de sicle Art Nouveau and 60s psychedelia. Though ascribed to him, these influences are not apparent in his medieval-style work, which leads us to imagine that he was not understood in his own time. What everyone agrees on, it seems, is his independence of spirit; his refusal to simply decant old creativity into new containers. The one element that unites all the influences is the artist's own unique voice - he wanted to build models of his worldview to let others explore it. But the act of creativity is said to have been as important to Yamashita as the end result. Hence his self-carved, self-printed, frankly amazing ehon 絵oe survive as perfect examples of 20th century bunjinga 文人画 [literati painting]. Small stains near the binding of the front cover. Interior pages in fine condition. .
助, artist. Posuta. Privately published. Osaka?]. 1970 - 75. 5 portfolios in paper wrappers approx 31 x 23cm with additional small pieces. Each wrapper has a yellow label printed in black and numbered in red from 1 to 5. Numbered 2 of a limitation of 20 copies. Original woodblock prints and Japanese text. There is a theme to each section, with a color folder within each color folder containing multiple-size woodcuts. Laid-in are large folded sheets with designs and white folded sheets that are similar to a pamphlet that serve as an introduction to the theme and materials within. Also included are 9 small laid-in packets with intricate woodcuts. Handmade paper and original woodblock prints throughout. Artist Yamashita Keisuke 山下-
助 (1913 -77) has created an imaginary world of lettering and images with a medieval sensibility that is simultaneously Old World, fantasy and mythical. His borders are suggestive of Celtic knots but not copies of them. Clearly he draws on visual knowledge of Celtic, Byzantine and Romanesque manuscripts; perhaps the Book of Kells, the Lindisfarne Gospels or the Ebbos Gospels, as well as 16th century northern European woodblock title pages. He is presenting a hidden mythology that refers to many European sources. Although his work mainly has a western aesthetic, there are hints of East Asian influence, particularly in the final section. One print, for example, combines dragon-like creatures in the middle with designs of cherubic faces at the top, while another incorporates shapes that are reminiscent of traditional Thai hats into a Celtic design. His mention of Goethe in the introduction of Folder 1 leads to the interesting choice of the overall format of the grouping. Part Two of Faust consists of five independent acts, just as this has five discrete folders, each with a different theme. And, like Goethe's work Faust, this also appears to be Yamashita's magnum opus, for research reveals only prints and smaller works by him, such as a collection of bookplates also published in 1975. Faust was translated into Japanese in 1913 by Mori Oegai and that edition was considered a gold standard for many years, well known in educated circles. Yamashita was born in the city of Naruto 鳴門市 in Tokushima prefecture 徳
oeOe, and after attending Tokushima Commercial High School 徳
商業, began working at Mainichi Shimbun Newspaper 毎日新聞 in Osaka in 1930. After serving in the military during WWII, he returned to the newspaper in 1945, where he worked for a total of 37 years. In the mid-1960s he studied the art of woodblock prints on his own and began his first Poster (Posuta) collection. Yamashita did all of the design, artwork, block carving and printing of the collection. He and "Poster" are listed in Helen Merrit's book, "Guide to Modern Japanese Woodblock Prints: 1900-1975," p.172, as well as in the June 1974 issue of Hanga Geijutsu 版画芸術 (6) on p. 212. The title of the article is "Hitori Waga Sekaini Asobu ひとりわOeせかいにあそ
" [Playing Alone (in His Own World)]. Folder 1 都会OeOe・尋ね人Oe - has a cream color wrapper with an interior brown paper wrapper. The inside front of the brown wrapper has a large printed, color label printed in black with color designs, the date of 10.70 and Japanese script identifying it as handmade. An inner yellow wrapper 27.2 x 20.2 has a label of the same design as the outer folder, numbered, but done in black ink on brown paper. A printed translucent sheet, decorated and with Japanese text and hanko, is tipped into the inside front cover. An initial folded cream paper, 26.5 x 18.5 that opens to 26.5 x 37cm, serves as an introduction to the artist and key to the overall work. The artist has created his own script. Underneath the script title is furigana as a guide to pronunciation. He explains the origin of the title "Ten Grand Poster;" the "ten" comes from "tengoku 天国" (heaven) and "posuta" comes from the Latin word "posta" referring to message delivery. He relates the latter to the mythological messengers - the Greek god Hermes and the Roman god Mercury. The introduction itself is written like a missive or gazette, with topics numbered 0 (prologue) to 10 followed by an epilogue, printed in handwritten font with 3 laid down designs on the first page and 2 tipped-in designs on the final page, in various fonts and colors ranging in size from 10.5 x 7.5cm to 2 to 4.5cm. Both sides have a light gray design along the bottom of two facing dragons or similar creatures. A black sheet pasted into the center has an intricate tipped in woodcut with Japanese script and "Presse Bibliomane" at the top and "Kikyo Sasaki" at the bottom. A tiny red label is pasted down to the right and says "Tokyo - Sasaki Kikyo Sama" in Japanese script. The reverse has a full page design with script on translucent paper tipped in. The rear inside cover has 4 tipped-in designs. One on translucent paper with the limitation and hanko "け" (ke), likely for Keisuke and below it a printed colophon with a tipped in design at the top, likely another hanko of the artist, with the image of a bunny grinding rice and the text "Tsukuru Hito," which is a way of saying "creator" or "artist." Next to it is a Buddhist iconography design with text printed in gold on blue paper and a small slip with printed text and the "Ke" hanko in red below it. A folded sheet with a design printed in black with Japanese text opens to 42.5 x 28.5cm. The sheet has the rabbit hanko printed in gray in the middle and a red hanko next to it. On the back is a small, tipped-in, green slip with a note about the text printed on the reverse and a reference to "Ten Grand" with the "Ke" hanko. A cream-color sheet folded to 30.5 x 2.3cm has lettering design on the front and is numbered 1; inside is a design across both sheets with Japanese text and the 'ke' hanko. A brown paper folder 30.5 x 23cm has a large decorated label numbered 1 in blue. Inside are 17 monochrome and color woodcuts mounted on the inside front covers and inside on black paper. Most are double or full-page with three smaller ones, the smallest being 12.2 x 9cm. Folder 2 エロス讃Oe・大ゲーテOe [Ode to Eros - Great Goethe] - has a black wrapper 31 x 23cm wrapper with an interior brown paper wrapper. Inside is a green folder 29 x 19.5cm with a red label labeled 2. The inside front wrapper has a color photo of an older man with a cane crouched down on a stone bridge in the middle of a field, likely the artist. The first page is on translucent paper and has a printed design with handwritten Japanese below it and is signed by the author with the date of 5.2.1971 (for the photo) and a hanko. The second page had the same paper with a printed design, Japanese text and handwritten Japanese. The inside back cover of the folder has 2 woodcuts tipped in with the artist's hanko and the date of 1971. Laid-in are 2 folded sheets 27.5 x 18.5cm with 7 laid-down prints in b + w and color. Two are on the subject of Goethe. On the cover and inside are handwritten/printed Japanese text and printed designs. Laid in is a 44.5 x 31.2cm folded sheet with an intricate b+w design and color text with a hanko and the date December 4, 1800. In the rear is a tipped-in sheet with a printed design and handwritten text which seems to explain the text on the other side. It is titled "Festival Jexpoem Guten tag" and has a hanko with the character 'kei' "-
" from the artist's name. A folded page opens to 44 x 30.7cm with a printed title on the front and a number 2 and inside a double-fold print of a hybrid human/animal creature, Japanese text with a quote on art and the same hanko. A thick, tan folder has a large printed label and the number 2. Inside are color and b+w woodcuts: 5 double-page, 6 full-page and 9 smaller prints on multiple pages. Folder 3 - 神-のヘドロ [Divine Sediment] - has a red wrapper with a yellow printed label and the number 3 printed in lavender and an interior brown paper wrapper. A thick, cream folder has a large printed label and black pages with color and b+w woodcuts: 9 double-page, 5 full-page and 3 smaller prints on multiple pages. A cinnamon color folder 29.5 x 21.3cm has a stamped label and the number 3 in red. Inside are two full page designs laid in, one on translucent paper with handwritten/printed text. 2 smaller designs are tipped-in on the diagonal and one on the last page has the date 1972. A laid-in sheet has a laid-in folded sheet with printed designs and text and a tipped-in design on translucent paper with text with the title "Kamigami no Hedoro 神-のヘドロ," [Divine Sediment] and the saying "一切のひと見ろ、一人もみるな." Issai no hito miro, hitorimo miruna ["Look at Humanity, not the individual"]. Laid in are a folded sheet 31.7 x 22cm with a title and the number 3 in blue and a second folded sheet with text on one side and a printed design on the other. Within the printed design is the small "kei" character. Folder 4 - 古譚草詩 [Kotan Sōshi]・丼魚Oe（タンナ）・別冊翻文篇 - has a cream wrapper with a yellow label and the number 4 in red. Inside is a thick tan folder with a large label and the number 4 in green with 2 double-page prints, 17 full-page prints, a fold out sheet with 2 prints and one laid-in print and 2 smaller prints on one page. A large, black sheet of folded paper has folded, laid-in print 30.5 x 43cm. Two other large, folded sheets with designs are laid in: one opens to 43.5 x 30.5 with Japanese words written in romaji and the other opens to 44.5 x 30.7cm. Folder 5 - -嫣紫宴・饗宴篇・別冊-嫣紫宴・コースター詩 - has a black wrapper with a yellow label and the number 5 in red. Inside is a thick gray folder with a large label and the number 5 in yellow. Inside on brown paper are 3 double-page prints and 2 double-page prints that are half size horizontally, 5 full-page designs and 12 small prints on multiple pages. A bright purple folder has a tan label with the number 5 in red and one print each on the inside front and rear covers. The latter gives the date 1975. Laid-in are black pages with 8 small and medium size prints laid down, one translucent page tipped-in and two pages tipped in to center, one on the front and one on the back. Three folded sheets are laid in: one opens to 26.3 x 37cm with a large tipped-in print inside and printed on the front and back, another opens to a 29 x 41.7cm b+w print and the third has a title on the cover with the number 5 in yellow and a print with "Bacchanalia" on the inside. Bacchanalia is a reference to the Roman festival of Bacchus, which was celebrated with much revelry. Laid in are 9 small packets with intricate woodcuts 赤神青神死話 [Aka Kami Ao Kami Shibanashi]・あいきやう他 [Aikyō, etc.] - 1 large, folded sheet of green paper opens to 41.8 x 31.7cm with a printed design that looks like a child's crayon drawing in yellow with the artist's hanko and on the other side a large section of newspaper with the date of May 1968 with multiple prints, in a printed wraparound. 2 sheets folded together approx 26 x 22cm with printed designs, in a wraparound. 14 x 9 paper card with print on one side and small fruit design on the other, in glassine. Large sheet folded into a square 11.2 x 10.5cm with a design and text with hanko opens to reveal a round cardboard "Lacto Ice" [ice cream type] lid with a vintage Disney design and a design on the back, each housed in its own glassine. The inner design appears to be adhered to the glassine. A purple and gold Peace cigarette wrapper folded to 14 x 6.5cm has a printed design of a reclining nude and Japanese text on the reverse white side with a design of a nude printed on a section of a small cardboard box on the other, housed together in glassine. (The Peace logo was designed by Raymond Loewy, who also worked on the design of the well-known Lucky Strike cigarette logo.) A small book 10.5 x 9.2cm has a red wraparound with text printed in yellow around the bottom third and a print with text laid-in on the front cover. There is a title page with text and the date 1975 on the reverse followed by a title page with text and a print, 10 prints inside the book and a print on the final page with the title repeated, housed in glassine. The title reads Akai Kami, Aoki Kami, Shibanashi 赤神 青神 死話 [Red God, Blue God, a Tale of Death.] A play on words, taken from Akaikami, Aoikami 赤紙青紙 (Red paper, Blue paper, an urban legend). A sheet folded to 9 x 8cm with a title and the number 5 in yellow opens to reveal a small book in glassine. The wrappers are made from a Peace cigarette wrapper and decorated with printed art gallery paper with 2 printed designs, one tipped in, and text with the date 1975. The final page has three thin strips of printed paper laid-in. Paper folded to a 10 x 7.7cm rectangle has a color print on the front and [poster (posta)] in Japanese text on the back. It opens to reveal a slightly smaller version of the same front print. Inside is a red and yellow Nittoh tea bag envelope with two separate glassine papers inside, each encasing a round cardboard milk top with Japanese script written on one side and a painting of a Japanese woman on one and a Japanese man on the other. A small slip of lavender paper with printed text 6.5 x .7cm that reads Hiyoku Mame Cosutaa 比翼豆コースター [Happy Couple Miniature Coasters]. With a glassine wraparound. Paper folded to 12.2 x 3cm has a long narrow print on the front and inside is a tipped-in paper with printed design and text. Closed with a tiny red wraparound All pieces are housed in a navy fabric-covered chitsu 36.5 x 24cm with a blank title slip. Chipping to edges of chitsu; artwork is in very fine condition. An extraordinary collection, beautifully imagined and rendered. Additional material - periodical Issue 68 of Korekushon こOeくしょん [Collection] Gallery Gohachi ギャラリー吾-, publisher Tokyo Showa 52 [1977] 17.8 x 15cm staple-bound magazine with beige paper wrappers and printed title on front cover. Front inside cover has a tipped-in illustration of a rabbit on brown paper with "Tsukuru Hito" that Yamashita Keisuke 山下-
助 often used as a hanko. [4] initial folded washi [Japanese paper] sheets that are open at the top form [8] pages and are printed with essays on the recently deceased artist, one by his son, in Japanese text. A glossy sales insert folded to 13.7 x 13.7cm has reproduced photos of Posta artwork as well as text about its creation.The final washi page has 20 red hanko used by the artist. Pages 9-24 are printed on glossy white paper and serve as the publisher's catalog and price sheet, with reproduced images of books, Japanese text and a small colophon on the bottom left of the final page. Inside rear cover has a tipped-in book plate with the name "Minoru Miyamoto." The 68th periodical reference/sales catalog Korekushon こOeくしょん [Collection] produced in 1977 is devoted to a series of essays on the artist Yamashita Keisuke. Korekushon was produced by Gallery Gohachi ギャラリー吾-, the important publisher/book purveyor of livre d'artiste, especially those produced by the Mingei 民芸 and Sosakau Hanga 創oe版画 artists of the post-War period. Yamashita seems to have made quite an impression on those who write about him in the journal. Looking at his work at hand, it is easy to see why. His influences are variously attributed to genres as disparate as Fin de sicle Art Nouveau and 60s psychedelia. Though ascribed to him, these influences are not apparent in his medieval-style work, which leads us to imagine that he was not understood in his own time. What everyone agrees on, it seems, is his independence of spirit; his refusal to simply decant old creativity into new containers. The one element that unites all the influences is the artist's own unique voice - he wanted to build models of his worldview to let others explore it. But the act of creativity is said to have been as important to Yamashita as the end result. Hence his self-carved, self-printed, frankly amazing ehon 絵oe survive as perfect examples of 20th century bunjinga 文人画 [literati painting]. Small stains near the binding of the front cover. Interior pages in fine condition. .
Boeknummer: 91035
USD 3500.00 [Appr.: EURO 3216.25]
Catalogus: Japan and East Asia
Woodblock Print Calendar for 1937 - 12 Sheets
[Woodblock Print Calendar for 1937 - 12 sheets] Onchi Kōshirō 恩oe孝四郎, Kawakami Sumio 川上澄生, Maekawa Senpan 前村千帆 et al, artists [Nihon Hanga Kyōkai 日oe版画協会 Japan Print Association] n.p. Shōwa 12 昭Oe12年 1937 12 sheets 24.7 x 12.6cm each illustrating one month of the year Shōwa 12 昭Oe12年, 1937 in original color woodblock prints. Known to be published annually by the Nihon Hanga Kyōkai 日oe版画協会 (Japan Print Association), which issued calendars with the same format until at least Shōwa 19 [1944]. The top section is the calendar with dates and below it an original artwork, both done in the style of the artist, all of whom were established in the field of woodblock printmaking. All but one of the names are written vertically in Japanese in ink on the rear in the lower right hand corner. Hanko are found in "Guide to Modern Japanese Woodblock Prints: 1900-1975," by Helen Merritt and Nanako Yamada as indicated. The Nihon Hanga Kyōkai 日oe版画協会 Japan Print Association, still in existence today, was established in January 1931 when the Japan Creative Print Association Sōsaku Hanga 創oe版画 (formed in 1918) merged with the Western Print Association Yōfū Hangakai 洋風版画会 (formed in 1929), attracting independent artists. January - Hiratsuka Un'ichi 平塚運一 (1895-1997) created the woodcut of a bearded Daikokuten 大黒天, god of good fortune and wealth, holding aloft an Uchide no Kozuchi 打ち出の小Oe (lucky mallet) with the name Mt. Yudono 湯殿山, a Shinto shrine in Yamagata prefecture, within the work. Hiratsuka initially studied watercolor and later ventured into painting and printmaking. He was prolific in the latter, contributing to numerous periodicals and collaborating with Onchi and Maekawa Senpan, among others, later influencing the younger generation as a teacher, including his student Maeda Masao 前田政雄. The artist's seal of 'un' 運 can be found in Merritt p. 285. His works are held at the Art Institute of Chicago as well as other museums. February - Maeda Masao 前田政雄 (1904 - 1974). This winter-themed woodcut of skiers on a snowy hill reflects the artist's Hokkaido birthplace and childhood. A student of Hiratsuka Un'ichi 平塚運一, he was an active member of printmaking groups and contributed to a number of compiled works. The technical skills and details for which he is known are shown in his well-known work from the 1930s, Hokkaido Hakkei Oe海道-景 [8 Views of Hokkaido]. His hanko seal of "masa" "政" is in Merritt p 294. March - Katsuhira Tokushi 勝平得之 (1904-1971). It is fitting that the artists depicts the March 3rd festival of Hinamatsuri 雛祭り or Girl's Day in Japan, as he got his start as an artist carving wood dolls. Largely self-taught, he exhibited his works in a number of competitions and often created prints on the theme of Akita prefecture, where he grew up. His seal of "toku" 得 is in Merritt p.291. April - Onchi Kōshirō 恩oe孝四郎 (1891-1955) contributed a print of two butterflies with blocks of blue. HIs accomplishments throughout the first half of the 20th century begin with his eminence as a printmaker. Onchi was an innovator who domesticated the ideals of abstraction and "creative printmaking" in Japan when still in art school. From his early years, working with Takehisa Yumeiji 竹-夢Oe among others, he began a long career as a printmaker, book designer and book illustrator. From the very beginning of his life in the arts he was the center and focus of the Creative Print Movement Sōsaku Hanga 創oe版画, surrounding himself with fellow artists who took inspiration from his dedication to the cause of self-expression. His works are held in institutions internationally. May - Henmi Takashi 逸見享 (1895 -1944) depicted an image of a red carp flag over a house which suggests the May 5th holiday originally known as Boy's Day in Japan. A book designer, poet and artist, he was an active member of the Creative Print Movement Sōsaku Hanga and founding member of Nihon Hanga Kyōkai. His work is collected by the British Museum; his hanko 'Takashi' 享 is within the artwork. June - Yamaguchi Susumu 山口進 (1897-1983) portrays two frogs in water for the June calendar sheet with his hanko within the artwork. A native of Nagano prefecture, his first job out of school was at a post office. He completed his first woodblock print soon after, having taught himself. In 1920 he moved to Kyoto and began studying at the Aoibashi Western Painting Institute under established painter Kuroda Seiki 黒田-輝 (1866-1924). His first international exhibition was just 5 years later and after his woodcuts received accolades, he devoted himself to printmaking. His works are held internationally, including the British Museum and the Ringling Museum of Art. July - Fujimori Shizuo 藤森静雄 (1891-1943) shares his abstracted illustration of a bright blue river surrounded by yellow and light green scenery. He was a schoolmate of Onchi and helped with his issues of the seminal work, the art magazine Tsukuhae (Tsukubae) oe映 at Tokyo School of Art in about 1914-5. In 2019, the Fukuoka Art Museum 福岡市美術館 (Fukuoka-shi Bijutsukan) held an exhibit of his work from the magazine. He was a founding member of Nihon Hanga Kyōkai and contributed to numerous important works. His hanko 'S' is within the woodcut. August - The red flower illustrated by Azechi Umetarō 畦oe -太郎 (1902-1999) in the woodcut for August may well be a cliff flower, as Azechi was a mountain climber as well as an artist. Originally from Shikoku, he later worked in Tokyo and was mainly self-taught as a printmaker. His hanko 'ウ' is in Merritt p. 281. His works are held at the Art Institute of Chicago, MOMA, MFA Boston, and others. September - The still life of fruits and nuts by Koizumi Kishio 小泉癸巳男 (1893-1945) incorporates the artist's hanko izumi '泉 with "Kiso" underneath it, Merritt p. 295. Originally a calligrapher, he later studied painting and woodblock carving and carved his own prints, as well as others. A member of a number of printmaking groups, he contributed to well-known compilations and completed his own 32 Views of Mt. Fuji, the "Holy Mountain" Fugaku Sanjyū Rokkei 聖峰Oe岳三十-景. October - Shimozawa Kihachirō 下澤oe鉢郎 (1901-1986) was born Shimoyama Kihachirō 下山oe鉢郎, but took on the surname Shimozawa after marrying the eldest daughter of woodblock artist Shimozawa Bunpei 下澤文平. His work is known under both names and often bears the character hachi '鉢" within a red hexagon as it does here in the October print of autumn foliage as viewed through a window. He was a watercolor artist as well as a printmaker; his work in both were awarded numerous prizes over the years. Institutions in Japan hold his works as well as the British Museum, which holds 6 of his prints and the MFA Boston which holds 3. November - Maekawa Senpan 前川千帆 (1888-1960) was one of the most important of all the mid-century Sōsaku Hanga 創oe版画 Creative Print Movement artists. Senpan, whose penname was Sugimura Kōtarō 杉村廣太郎, was an established wood block print artist as well as a manga artist. His lovely blue-gray depiction of a branch of berries adorns the November calendar with his hanko 'han' 帆, Merritt p. 295. December - Kawakami Sumio 川上澄生 (1895-1972) was a self-taught and well-known artist whose work is held internationally as well as in his namesake museum in Tochigi Prefecture. He was an important figure in the Sōsaku Hanga 創oe版画 Creative Print Movement and in the December calendar portrays the Epiphany; his hanko is incorporated into the roof of the stable. There is a hole in the upper right hand corner where the calendar pages were attached. Otherwise fine condition. Some fading and wrinkled areas. A lovely set of woodcuts by the most important Sōsaku Hanga printmakers of the time. .
Boeknummer: 91081
USD 975.00 [Appr.: EURO 896]
Catalogus: Japan and East Asia
![Giichi Akita. [The entry used by Worldcat names him Hodo Akita]., [Sanpo Jikata Taisei].](https://www.antiqbook.com/images/AB_images/n/ney_Giichi9186.jpg "Click to enlarge")
[Sanpo Jikata Taisei].
Tokyo, Kitajima Junshiro &c 1837 (Tenpo 8). Five volumes (25x18cm) publisher's wrappers; 4,156 double folded leaves, numerous woodcut illustrations. A spot of worming in the first cover and a touch in another volume, a rather good set.
First edition of this manual of land management and surveying, published at a troublesome time in Japanese history: the 1830s brought a movement, fiercely resisted by the authorities, towards the adoption of western science and technology and, relevant to this book in particular, a period of horrendous drought, famine and unrest in rural Japan. Land surveying was primarily concerned with taxation and, before the Meiji reforms, accurate measurement was not only unimportant but unwanted. The extent and value of land was a matter for negotiation. The intricacies of Japanese land surveying in the early modern period demand long learned essays - and after reading a couple I'm none the wiser - but what is clear is that this book is a major work in the history of rural engineering, survey and management. It was also problematic for the authorities: "problems in surveyor education were aggravated by government censorship. Bakufu officials did not want administrative uses of survey techniques discussed in public. Under the guise of 'respect authority; despise the people (kanson minpi),' the mysteries of official practice were not to be released to the public domain." (Brown: A Case of Failed Technology Transfer - Land Survey Technology in Early Modern Japan; 1998). The authorities did suppress or attempt to suppress the Sanpo Jikata Taisei; Brown refers us to the preface of the 1976 reprint of this book for details and I came across another reference that claimed the woodblocks were destroyed. This seems fairly scarce outside Japan; the title is well represented in western libraries but once we discard the 1976 reprint I found only two libraries with originals through Worldcat.
First edition of this manual of land management and surveying, published at a troublesome time in Japanese history: the 1830s brought a movement, fiercely resisted by the authorities, towards the adoption of western science and technology and, relevant to this book in particular, a period of horrendous drought, famine and unrest in rural Japan. Land surveying was primarily concerned with taxation and, before the Meiji reforms, accurate measurement was not only unimportant but unwanted. The extent and value of land was a matter for negotiation. The intricacies of Japanese land surveying in the early modern period demand long learned essays - and after reading a couple I'm none the wiser - but what is clear is that this book is a major work in the history of rural engineering, survey and management. It was also problematic for the authorities: "problems in surveyor education were aggravated by government censorship. Bakufu officials did not want administrative uses of survey techniques discussed in public. Under the guise of 'respect authority; despise the people (kanson minpi),' the mysteries of official practice were not to be released to the public domain." (Brown: A Case of Failed Technology Transfer - Land Survey Technology in Early Modern Japan; 1998). The authorities did suppress or attempt to suppress the Sanpo Jikata Taisei; Brown refers us to the preface of the 1976 reprint of this book for details and I came across another reference that claimed the woodblocks were destroyed. This seems fairly scarce outside Japan; the title is well represented in western libraries but once we discard the 1976 reprint I found only two libraries with originals through Worldcat.
-- Boeknummer: 9186
AUD 350.00 [Appr.: EURO 215.75]
Trefwoorden: science technology political economy economics agriculture surveying trades c19th Japan Asia reform progress
![[PAINTING ALBUM], Nikuhitsu Manga Kaikoku Rokujunenshi Zu-E](https://rarebook.cdn.bibliopolis.com/pictures/91110.jpg?auto=webp "Click to enlarge")
Nikuhitsu Manga Kaikoku Rokujunenshi Zu-E
1927. [PAINTING ALBUM]. Nikuhitsu Manga KAIKOKU ROKUJUNENSHI ZU-E. Done by the Chuo Bijutsu Kyokai in Tokyo in 1927 as a 43 x 31 cm portfolio of 52 original watercolor drawings (counting the table of contents and cover title label) on satiric and comical themes, done to commemorate the 60th anniversary of the opening of Japan in the mid-19th century. The title represents quite a liberal interpretation of chronology, since the opening of Japan was in 1854, but it is probably refers to the Meiji Restoration as the beginning of "opening" and also refers to Baron Okuma's somber and influential 50 year history of modern Japan with its almost identical title, done in 1909. There was more than one set of these drawings assembled. It seems to have been issued as a limited hand-drawn edition. One of several such major painted works in a manga style There is a hand-written table of contents/colophon with the captions of the drawings and their artists listed by Nakamura Fusetsu (1866-1943), the important Haiga artist. Two dozen or so of the most prominent cartoonists, satirists and artists are represented. One of the two watercolors by the great cartoonist Okamoto Ippei (1886-1948) is a caricature of his friend Natsume Soseki, the famous author of "I Am A Cat" captured with his pet tabby beside him, inextricably linked in Ippei's imagination, and ours. The "father of modern manga", Kitazawa Rakuten (1876-1955), has two, as do the important printmakers, Maekawa Sempan (1888-1960) and Mizushima Nihofu (1884-1958). The list of talented and significant contributors goes on as does the subject matter: political satire, China vs. Japan, East vs. West, tradition vs. modernity, technology vs. craft, from abstract Sumo wrestlers to a surreal embodied eye, a congeries of images overwhelms our eyes in turn. A wonderful visual epitome of the free spirit of democracy if not anarchy in the 1920s before the dark days to come. In very good condition, the watercolors are skillful and powerful. There is quite a bit of contemporary supplementary material included from the time. .
Boeknummer: 91110
USD 4500.00 [Appr.: EURO 4135.25]
Catalogus: Japan and East Asia
![[FABRIC SAMPLE ALBUM], Wakan Meibutsu Kodai Resshå« åOeæ¼¢åç©å¤ä»£è£é [Vintage Scraps of the Noted Productions of China and Japan]](https://www.rarebook.com/pictures/83297.jpg "Click to enlarge")
Wakan Meibutsu Kodai Resshå« åOeæ¼¢åç©å¤ä»£è£é [Vintage Scraps of the Noted Productions of China and Japan]
[Fabric Sample Album] Wakan Meibutsu Kodai Resshū Oe漢名物古代裂集 [Vintage Scraps of the Noted Productions of China and Japan] N.p. n.d. (Kyoto?) Orihon folding album 30 x 20.8cm in fabric covered boards with brushed fabric title label with a red hanko. It is clear that, though this album was put together in the early 20th century, the 277 samples selected are much older. The title roughly translates to, "Vintage Scraps of the Noted Productions of China and Japan." It appears that the final character in the title is a wonderfully imaginative one, creating a pun to mean, "collection." Designs of many eras with various fabrics, including silk brocades, and colors, all mounted together in this "idea book" which may have belonged to a textile designer in modern Japan. From the title, "meibutsugire 名物裂" refers to, "dyed and woven products mainly shipped from China's Song, Gen, and Ming dynasties from the Middle Ages to the early modern period in Japan." The influence and incorporation of Chinese textiles into the Japanese world of fabric dyeing and weaving for traditional attire and household items, based in Kyoto, is well documented. Here we have many deep colors, such as navy, olive and persimmon, with metallic threads and embroidery, in botanical and geometric patterns. There is even a landscape with a deer and a bird. The book was put together with great care, and the pieces, varying in shape and size, some as many as 25 swatches on a page, are placed to fit nicely on each page. Dirt staining of cover fabric with fraying and chipping at corners. Some foxing to backing paper; fabric has worming in some areas (prior to being laid down?), otherwise fabric is in good condition. All lovely to look at and well-preserved. .
Boeknummer: 83297
USD 3750.00 [Appr.: EURO 3446]
Modern Japan and its problems
London : George Allen & Unwin Ltd. 1928. First Edition. Very good copy in the original title-blocked cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall; tight. bright. clean and strong.; 8vo 8' - 9' tall; 226 pages; Physical description; 226. [2] p. ; 23 cm. With a half-title page. Includes publisher's catalogue at the end of the volume. Includes bibliographical references and index. Subjects; National characteristics. Japanese. East and West. Industrialization - Japan. Education - Japan. Banking - Japan.Population - Japan. Japan - Economic development.
-- Boeknummer: 223930
€ 25.00
A Short Economic History of Modern Japan
London: Macmillan, 1987. Fourth Edition. Paperback. Reprint of the 1981 4th edition, x + 305 pages, notes and references, glossary, statistical tables, bibliography, index. Spine faded, some ink underlining of text, previous owner name on the title page.. Good .
-- Boeknummer: 161373
GBP 5.81 [Appr.: EURO 7]
Three Japanese Architects/ Drei Japanische Architekten. Mayekawa: Tange: Sakakura.
New York, Architectural Book Publishing Co. 1968 (originally published by Arthur Niggli Ltd) 179pp, mostly photos and plans, short biographies. 23x29, boards, illustrated dw. Bump to bottom edge of boards, not effecting contents which are very good, in rather rubbed and creased dw. Altherr was a friend of Corbusier and a delegate to the World Design Conference in Tokyo, 1960. He visited Japan again in 1966 to do further research. Good source on early post-war architecture in that country.
Boeknummer: 38804
GBP 25.00 [Appr.: EURO 29.25]
Catalogus: MODERN ARCHITECTS
Trefwoorden: MODERN ARCHITECTS
Other Worlds. Arishima Takeo & the Bounds of Modern Japanese Fiction
New York, Columbia University Press, 1984. orig.cloth. 22x14cm, xi, 152 pp. Some rubbing and a tear to dustwrapper, VG, dustwrapper
-- Boeknummer: BOOKS003758I
USD 59.00 [Appr.: EURO 54.25]
Trefwoorden: Japanese Literature, Japan, Modern Fiction, Arishima Takeo, Literary Criticism, East Asia, , ,
Sleeping around. The bed from antiquity to now
Univ of Washington Pr, 2006. Paperback. Pp: 164. There's more than one way to make a bed, and humans throughout history have devised every sort they could imagine. From a simple blanket laid on the ground to elaborately carved four-posters hung with sumptuous draperies, from a hammock swinging under the stars to a stifling cupboard bed built into a wall, the ways in which humans have gone about trying to get a good night's sleep are myriad. This book, illustrated with some 140 images, takes readers on a lively tour of beds and sleeping customs over time and around the world.Beginning with "sleeping low," Carlano and Sumberg show that, whereas in Europe and North America sleeping on bedding on the floor was the lot of the poor, in many other parts of the world it has long been a cultural and aesthetic choice. Beautiful tatami-futon ensembles in Japan, intricately patterned rattan mats in Borneo, and cozy textile pads, pillows, and quilts in Turkey have kept people warm and comfortable for centuries.Yet "sleeping high," on raised platform beds, started early, too: such beds are known from archaeological finds and tomb paintings dating to the fourth century BCE in Egypt. From ancient Greece and Rome, the narrow, rectangular bed spread into Europe and then to North America, seeing innumerable elaborations along the way - not only in the designs of the bedsteads themselves but also in the styles of bedding that became integral parts of the sleeping arrangement. In the modern West, people stowed away Murphy beds in the early 1900s, romped on water beds in the 1970s, and now can buy futuristic beds designed by furniture artists.Rounding out the tour, Carlano and Sumberg describe the ways people have found to sleep safely and comfortably while on the move - whether the travellers are full-time nomads sleeping in tents or twentieth-century tourists in Pullman cars. They devote a chapter to the special beds, cradles, and cribs designed for infants and young children, and an appropriately final chapter to the abundance of sleep imagery associated with death. In short,Sleeping Aroundoffers an informative and entertaining look at the history of beds and - under the impetus of both functional needs and aesthetic tastes - their ever-changing designs. ISBN: 0295985984. Cond./Kwaliteit: Goed.
-- Boeknummer: 46709
€ 12.50
Catalogus: Kunst
Trefwoorden: 0295985984
The Flame of Life; (IL Fuoco) (Modern Library #65. 1)
New York: The Modern Library, Inc, [c.1927]. Hardcover. A Modern Library edition presenting Gabriele D'Annunzio's novel, first published in 1900. The story is set in Venice and is the story of a young artist and his mistress, who is a famous actress. The Italian author was a poet, playwright, orator, journalist, aristocrat, and army officer during World War I (per Wikipedia). Translated from the Italian by Vivaria (per Toledano). --- In Toledano spine #4 / brown leatherette ("Croftleather") limp boards / gilt titling and decorations on spine / gilt torchbearer to front panel / yellow Bernhard endpapers. Undated, but likely published c.1927. (Lacks the dust jacket. ML #65.1. --- A partial split at front of book has been carefully repaired with Japan hinging tissue on this item. With prior owner's discreet oval embossed stamps to front and rear endpapers, her inked signature to front paste-down, and with chafing to cover extremities; otherwise a sound, unmarked copy.; 16mo - 6 to 7 in. tall; (10), 403, (3, ads) pages. Good+ with no dust jacket .
Boeknummer: 85816
USD 20.00 [Appr.: EURO 18.5]
Trefwoorden: >>Classic Fiction, Literature >>Modern Library Editions
Araki (Araki By Araki) : (Number 1632 of a Worldwide Edition of 2500)
Tokyo / Germany: Taschen, 2001. Limited Edition. Hardcover. Illustrated by Nobuyoshi Araki. Color Illustrations; Limited to 2500 copies, this is number 1632, signed and numbered by the author. Pink silk covered boards with a pink silk tray case. The book is in Very Good+ condition. The slipcase has unfortunately, got marks / ground-in dirt to the top and bottom covers, though not the sides. The book itself is mostly clean and bright. There are two spots with fingerprints on the front cover, and two light fingerprints on the the rear cover, along with a few tiny spots of discoloration that look vaguely like rust. The text pages are crisp and clean. This is copy # 1632 of the worldwide edition (with text in English, German, and, French). "Araki is considered to be one of the most prolific artists alive or dead in Japan. Many of his photographs are erotic; his work has been said to exist on a line between art and pornography. Among his photography books are Sentimental Journey (1971) , and Tokyo Lucky Hole (1990). Sentimental Journey "19721992" is a diary of life with his wife Yoko until she died of ovarian cancer in 1990. The first part of Sentimental Journey sees the couple embarking on married life their honeymoon and having sex. Pictures taken during her last days were published in Winter Journey. Parr and Badger include four of Araki's books in the first volume of their photobook history: Zerokkusu Shashincho 24 (Xeroxed Photo Album) , Senchimentaru na Tabi (Sentimental Journey) , Tokyo Lucky Hole and Shokuji (The Banquet)." (from Wikipedia); Signed by Artist. Very Good+ .
Boeknummer: 44108
USD 1250.00 [Appr.: EURO 1148.75]
Catalogus: Photography
Trefwoorden: Photography Araki Limited Editions Signed Editions Japanese Authors Nature Photography Modern Art Portraiture
![Shop architecture., [Shoten Kenchiku Oyobi Tento Keikaku Zuan].](https://www.antiqbook.com/images/AB_images/n/ney_Shoten11145c.jpg "Click to enlarge")
[Shoten Kenchiku Oyobi Tento Keikaku Zuan].
Tokyo, Kenchikushoin 1924 (Taisho 13). Oblong folio, 26x39cm publisher's decorated cloth (a couple of nibbles) and mildly battered printed card case; [10]pp, 50 b/w plates, [4]pp. A nice copy.
Modern and moderne shop buildings and store fronts; essential if you want to rebuild Tokyo after the earthquake and before the fire bombing. This is, of course, part of the post earthquake reconstruction effort: the results of a competition held by the equivalent of the Tokyo chamber of commerce. The plates, elevations and floor plans, are reproduced from measured drawings and look ready to build but I wonder about one (by Shibahara Niro) which, the facade at least, seems to be taken straight from Bruno Taut's crystal alpine architecture. The requirements: frontage, height etc, are spelt out in the introduction and I presume fit an average commercial lot. At the end are designs for shop fronts.
Modern and moderne shop buildings and store fronts; essential if you want to rebuild Tokyo after the earthquake and before the fire bombing. This is, of course, part of the post earthquake reconstruction effort: the results of a competition held by the equivalent of the Tokyo chamber of commerce. The plates, elevations and floor plans, are reproduced from measured drawings and look ready to build but I wonder about one (by Shibahara Niro) which, the facade at least, seems to be taken straight from Bruno Taut's crystal alpine architecture. The requirements: frontage, height etc, are spelt out in the introduction and I presume fit an average commercial lot. At the end are designs for shop fronts.
Boeknummer: 11145
AUD 1350.00 [Appr.: EURO 831.5]
Trefwoorden: architecture mercantile design mode15/9/2023rnism c20th Japan shops stores commercial advertising competition
Theophile-Alexandre Steinlen - Museum of Modern Art, Kamakura, Japan - 18 May - 16 June 1985
Museum of Modern Art, Kamakura, Japan / Art Life, 1985-01-01. Paperback. Clean tight and unmarked with faint sun fade. Illustrated throughout text in English, Japanese and French Please email for photos.. Used: Very Good .
Boeknummer: 78057
USD 302.00 [Appr.: EURO 277.75]
Vorige pag. | Pagina's: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | - Volgende pag.