Gendai Sekai Bijutsuten - Higashi to Nishi No Taiwa ç�¾ä»£ä¸–ç•Oe美術展ï¼�æ�±ã�¨è¥¿ã�®å¯¾è©± Contemporary Art: Dialogue between the East and the West

Gendai Sekai Bijutsuten - Higashi to Nishi no Taiwa ç�¾ä»£ä¸–ç•Oe美術展ï¼�æ�±ã�¨è¥¿ã�®å¯¾è©± Contemporary Art: Dialogue between the East and the West Tokyo Kokuritsu Kindai Bijutsukan æ�±äº¬å›½ç«‹è¿‘代美術館 The National Museum of Modern Art, publisher Tokyo ShÅ�wa 44 昭å’Oe44, 1969 24.4 x 25cm art catalog with orange covers with a graphic design on front cover. 114pp with title page, Acknowledgements in Japanese and English by Yukio Kobayashi, Director of the National Museum of Modern Art in Tokyo and Introduction by Masayoshi Homma, Chief Curator of the museum in Japanese and English on pp. 3-8. Pp. 9-18 have color photo reproductions of artwork on one side with 1 foldout page. Pp. 19-97 have black and white reproductions of artwork by Japanese and international artist. Pp.99-103 list the works with details, including the artist names, title of works and materials in Japanese and English. Pp.104-114. The works were all featured in the 1969 exhibition entitled "Contemporary Art: Dialogue between the East and the West." International artists include Jackson Pollock, Andy Warhol, Francis Bacon, Jasper Johns, Roy Lichtenstein and Bridget Riley. Japanese artists JirÅ� Yoshihara å�‰åŽŸæ²»éƒŽ, Sadamasa Motonoga å-ƒæ°¸å®šæ­£ and ç¦�岡é�“雄 Michio Fuikuoka are 3 of the Japanese artists who exhibited. Fading of and dirt staining to the edges of covers with slight foxing on some of the final pages. Foxing to top and side edges, otherwise very good condition. .

Boston Book CompanyProfessional seller

Book number: 91047

Catalogue: Japan and East Asia

[Group of Loose Black and White Photos and Negatives]

[Group of loose black and white photos and negatives] Six black and white photos 6 x 8.8cm including border. Five of the photos are of groups of elementary school-age students on an outing; in two of them they are in on the train platform at Futaminoura Station äºOe見浦é§- in the city of Ise, in one of them three students are inside the train and the remaining three are of the group outdoors, a mix of posed and candid. One 5.8 x 8.5cm black and white photo of a person in a field in front of a house and one 5.5 x 8cm b+w photo of an indoor seating arrangement. Three 8.6 x 13.5cm of 2 - 3 women on a ski trip, both outside and indoors. Two black and white photos 11.4 x 15.5cm of children in a group; one taken from the point of view of the speaker with children seated in lines, boys and girls separated, and the other from the point of view of the children, with the speaker standing in front of a Japanese rising sun flag. One 12 x 10.4cm sepia tone photo of a group of children sitting with inner tubes in shallow water at a beach, a long bridge behind them. The photo has a border and there is a chip in the top left-hand corner. Three black and white photos 11.5 x 16cm, the subject of one is a group of schoolchildren in white attire exercising outdoors with a pagoda in the background, another is a line of children eating and the third is a posed photo of nine young girls posed on a stage with a woman next to them. There is a white paper on the stage that has a sign that reads in part, 五年生 (Gonensei, fifth year students). Three negatives approx. 6.4 x 9cm, one of which is of a house in a field while the other two appear to be of artwork. .

Boston Book CompanyProfessional seller

Book number: 91011

Catalogue: Japan and East Asia

Gutai 4 å-·ä½“ 4 - 第一回å-·ä½“展 Special Edition of the 1st Gutai Art Exhibition. Gutai Henshå« I-Inkai å-·ä½“編集委員会

Gutai 4 å-·ä½“ 4 - 第一回å-·ä½“展 Special Edition of The 1st Gutai Art Exhibition. Gutai HenshÅ« I-inkai å-·ä½“編集委員会, publisher. Nishinomiya. July 1, 1956. 24.5 x 25.7 cm magazine with dark red wrappers decorated with an image of abstract art. 34 pages of black and white photographic images of artworks, from the 1st Gutai Art Exhibition held at Foster Hall in Tokyo in 1955. All are identified with artists' names. The avant garde artists whose work was included in the exhibition are all Japanese. The Table of Contents in English on the inside front cover lists the artists' names and the first page has the Contents in Japanese, along with an image of the magazine poster and a small triangular cut design, on green, heavy paper. 8 x 11cm errata in Japanese text is laid in. The essay "On the First Gutai-ten" by the well-known Gutai artist and leader Yoshihara JirÅ� å�‰åŽŸæ¬¡éƒŽ is translated in English on page 2 and in Japanese on the following page. There are photo images with essays on Kazuo Shiraga, showing him rolling on the ground and throwing his mud-like material as well as essays on SaburÅ� Murakami with photo images of his artwork in situ. The following pages continue with numerous black and white photo images, and five in color, and essays in Japanese text featuring avant garde Gutai artists and their works in gallery spaces and on their own. Page 33 features an essay by M/Sgt I. G. Edmonds that is translated into Japanese from English, where it appeared in Pacific Stars and Stripes titled, "Art is a Hole in the Ground." The final, unnumbered page is also in heavy green paper and lists the Gutai members with addresses in Japanese on one side and an ItÅ� Eishinsha sponsor advertisement on the other. Gutai was a radical post-war art movement that preceded performance art in the US by a decade. The Gutai Art Association ( Gutai Bijutsu Kyokai) or Gutai Group was formed in 1954 by Yoshihara and Shimamoto Shozo (1928 - 2013) and was active until 1972. The physical nature of their art (gutai roughly translates to "embodiment" or "the concrete") resulted in kinetic paintings, 3-dimensional sculptures and performances. Audiences came to expect the unexpected. A Gutai Group artist might burst through hanging sheets of paper, paint with his feet while swinging on ropes or wrestle with the paints directly on the canvas, pushing the boundaries of the avant-garde Mavo movement that preceded it. At times the audience was encouraged to join in and create the art with markers on an unfinished canvas or buttons that chimed musical notes. The Gutai magazine and subsequent PINAKOTHEK catalogs, were an important method of recording the group's art and concepts and extending to audiences abroad. One of those whom the magazine reached was Michel Tapié, a critic and collector. Tapié was a supporter of what he called "L'art informel" (Art Informel); encompassing international art that transcended what was then categorized as modern. He was a great promoter of The Gutai Group, and it was believed he found them through the GUTAI periodical. Rubbing to covers, the front lower cover is creased. .

Boston Book CompanyProfessional seller

Book number: 90969

Catalogue: Japan and East Asia

[Hand Scroll - Makimono 巻�物] [Chrysanthemum Scroll]

[hand scroll - makimono å·»ã��物] [Chrysanthemum Scroll] Japanese hand scroll (makimono å·»ã��物) with ribbon tie closure and blue brocade fabric at the beginning 22 x 29.7cm; inner paper lining of the fabric section is flaked with gold. The scroll is 2.64m x 29.7cm with a wooden jiku 軸 and is illustrated with single stalk chrysanthemums with leaves, each stalk in a short bamboo vase with a stand. Each flower is identified in approx 3 lines of calligraphed or printed text in Japanese. The 17 lovely illustrations of different shapes of chrysanthemums are done in yellow, purplish-red, green and white. Japanese chrysanthemums, which originated in China, include a number of classes that differ in size, shape, color and appearance. The illustrations range from mums with thin, spiky petals to short, full ones. Types represented may include specimens from the ÅOegiku 大ギク (Large Mums) class of mums, which are often grown and displayed singly, such as Atsumono 厚物, Kudamono 管物 and Ichimonji 一文字 (Coat of Arms Mum). Other commons types are Kotenkiku å�¤å-¸è�Š (Classic Mum), ChÅ«giku 中è�Š (Medium Mum) and, unsurprisingly, Kogiku å°�è�Š Kogiku (Small Mum). Chrysanthemums are synonymous with fall in Japan and September 9 is National Chrysanthemum Day (Kiku no Sekku è�Šã�®ç¯€å�¥). During September, festivals across the country (Kiku Matsuri è�Šç¥­) celebrate the the flower and the season and the plant decorates both homes and private and public gardens. The petals of edible mums are used in food as well as scented and beauty products. The mum is so revered that it became the symbol of the Imperial family during the Kamakura period, as evidenced in the Imperial Crest (Kikumon è�Šç´‹), which is still used today. Worming throughout but not all the way through the paper; perhaps repaired well. Encased in a wooden scroll box. .

Boston Book CompanyProfessional seller

Book number: 91041

Catalogue: Japan and East Asia

Hare of Inaba

HARE OF INABA. .

Boston Book CompanyProfessional seller

Book number: 90926

Catalogue: Japan and East Asia

Interior インテリア [Periodical] No. 105

1967. Interior インテリア [periodical] No. 105 Gakurin Tokyo December 1967 32.5 x 25.5cm magazine Interior インテリア with color and b+w photographic images, diagrams, inserts, fold-outs, a map, glassine and color pages and Japanese text, with some English, throughout. Decorated wrappers with a color negative exposure of an image (found on p.37) of three clowns on a bicycle on the front and a carpet ad with a large image of green carpet on the rear. This December 1967 issue is dedicated to the Montreal Expo '67. A notable article on pp. 56-7 is entitled, "Works by George Kikunami From the 19th Gutai Art Exhibition" and has 1 large and 1 small color image on a glossy page and 2 b+w images and a page of text on the right. The article is by Inui Yoshiaki 乾由明 (1927 - 2017), who was an art historian and critic as well as an emeritus professor at Kyoto University and Kanazawa College of Art and emeritus director at the Museum of Ceramic Art. He edited a number of books on traditional and modern art and contributed numerous articles to art journals for forty years, from the 1960s to 1990s. The page after the Table of Contents is a yellow sheet with two pages of English languages summaries of main articles within the issue, including 3 paragraphs in English on Gutai member and painter George Kikunami è�´æ
¶ ›è¥„æ²» (Kikunami GyÅ�ji 1943-2008) and his red orb-like artwork that appears in the article. Slight wear to wrappers; interior pages in very good condition. The sophisticated graphic design of the magazine was far ahead of its Western equivalent. .

Boston Book CompanyProfessional seller

Book number: 91019

Catalogue: Japan and East Asia

Ise Då�Chå« No Maki 伊勢é�“中之巻 [Pilgrimage to Ise, or, on the Road to Ise, 2 Hand Scrolls - Emaki 絵巻]

Ise DÅ�chÅ« no Maki 伊勢é�“中之巻 [Pilgrimage to Ise, or, On the Road to Ise, 2 hand scrolls - Emaki 絵巻] Height 15 ½" Length, Scroll One: Over 32 feet with 24 scenes along the way. Scroll Two: About 36 feet with 24 scenes... The amount of work that went into this commission is startling. As some of the scenes are quite original and depict everyday life in TaishÅ� Japan, one may assume the artist painted in studio from sketches he created along the way. The binding and box are of the highest quality.. A deluxe production. KÅ�ka 弘è�¯, artist TaishÅ� 12 [1923] Through the years, the general opinion of the work done in the Nihonga genre has changed for the better, for good reason.. There are many reasons, but perhaps the most significant is the understanding that Nihonga painting (and printmaking, for that matter - Shinhanga) was an adaptation to the new artistic opportunities made possible by the pigments, new artistic technologies in general. Materials sciences were exploding with the introduction of Western scientific methodology. New materials, both homegrown and imported , created new art. One might say that Nihonga painting and so-called "Shin-hanga" are closely related in that they expanded the depiction of traditional themes and subjects with new capabilities. It would take a while for the combination to become more harmonious, but the results could sometimes be extraordinary. The scrolls at hand were almost certainly the product of a wealthy patron from Kyoto wishing to inscribe a pilgrimage to the shrines at Ise. To that end, he commissioned this work from a painter whose art name was KÅ�ka 弘è�¯, presumably a local artist, as his paintings do occasionally surface in the marketplace in Kyoto, even today. KÅ�ka had an extraordinary way with color.. even a brief look at his work reveals a confidence and boldness which is very immediate, very pleasing. He manages to avoid cliché by recasting familiar scenes from the pilgrimage with power and interest.. He has also introduced several original views along the way to heighten the reality.. Rainstorms, crowded streets. The quotidian contemporary enlivening the traditional.. The brushwork is sure and supple.. Really a masterpiece of the genre. My gallery friends in Japan and I have struggled for years to figure out if the art name KÅ�ka could have been an early career usage by a famous Nihonga practitioner of later years.. But, now, I am ready to send it on its way as a gifted moment by an unknown. Brilliant and unique...

Boston Book CompanyProfessional seller

Book number: 91044

Catalogue: Japan and East Asia

4 Issues of Gofuku 呉æOe�

4 issues of Gofuku 呉æoe�.Tokyo. Ichida ShÅ�ten 市田商店. Four kimono magazines published by a Tokyo kimono and obi store with branches in Tokyo and Kyoto. Green birds in birdcage - ShÅ�wa 8 [1933] June #122　昭å’Oeå-«å¹´ã€€å-­æoeˆã€€ç™¾äºOeå��äºOe呉.　 Blue/white/green - ShÅ�wa 8 [1933] August #124　昭å’Oeå-«å¹´ã€€å-«æoeˆã€€ç™¾äºOeå��四呉. Gray - ShÅ�wa 10 [1935] February #141 昭å’Oeå��å¹´ 百四å��一呉. Red - ShÅ�wa 13 [1938] January #176 昭å’Oeå��三年　一æoeˆã€€ç™¾ä¸ƒå��å-­è™Ÿ. Green birds in birdcage - ShÅ�wa 8 [1933] June #122　昭å’Oeå-«å¹´ã€€å-­æoeˆã€€ç™¾äºOeå��äºOe呉. 26 x 19cm kimono textile magazine with light and dark green decorative covers. 8 pages, including front and rear covers. Lovely cover artwork of birds in a cage on front and rear wrappers. Articles in Japanese text on kimono, fabrics and patterns and a loosely drawn cartoon. Vertical fold on front cover through to inside. Blue/white/green - ShÅ�wa 8 [1933] August #124　昭å’Oeå-«å¹´ã€€å-«æoeˆã€€ç™¾äºOeå��四呉. 26 x 19cm kimono textile magazine with blue and green decorative covers. 12 pages, including front and rear covers. 2 inserts of 4 pages laid in. 2 small holes near spine (stabbed binding?). Charming cover artwork with a stylized women's figure wraps around to rear wrapper. Articles in Japanese text on kimono, fabrics and patterns. 6 small swatches of fabrics for fall laid down. Color illustrations of fabrics and photo of display of bolted fabrics. One insert focuses on variations of the chrysanthemum design, accompanied by black and white illustrations. Black and white illustrations throughout. Vertical fold on front cover through to inside. Gray - ShÅ�wa 10 [1935] February #141 昭å’Oeå��å¹´ 百四å��一呉. 26 x 19cm kimono textile magazine with multicolor decorative wrappers. 12 pages including front and rear covers. Very appealing cover artwork of a wintery scene wraps around to rear cover. Articles in Japanese text on kimono, fabrics and patterns with black and white illustrations and photos. Article with photos of actress Mori Kakuko 森赫å­� (1914-1986) in kimono and modern dress. Rust-like stain on front cover through to inside front wrapper. Vertical fold on front cover through to inside. Red -　ShÅ�wa 13 [1938] January #176 昭å’Oeå��三年　一æoeˆã€€ç™¾ä¸ƒå��å-­è™Ÿ. 26 x 18.5cm kimono textile magazine with multicolor decorative wrappers. 12 pages including front and rear covers. Beautiful cover artwork of Japanese landscapes wraps around to rear cover. Articles in Japanese text on kimono, fabrics and patterns with illustrations and photos. Vertical fold on front cover through to inside. $200 for 4. .

Boston Book CompanyProfessional seller

Book number: 90432

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 6: The Mouse's Wedding [Nezumi No Yomeiri] [Crepe Paper Book]

190. Japanese Fairy Tale Series No. 6: The Mouse's Wedding [Nezumi no Yomeiri] [crepe paper book]. Tokyo: Hasegawa Publishing. C. 1902 - 1911. [David Thompson] ダビッドタムソン. 15.2 x 10.3cm crepe paper book (chirimen bon 縮緬æoe¬) bound Japanese style fukuro toji and secured with ties in two stab holes. The colophon lists the publisher's address in Japanese as 38 Honmura-cho, Yotsuya-ku, Tokyo-shi. Colophon gives a date of Meiji 18 明治å��å-«å¹´ [1885], but it is likely a 1911 reprint. [9] cho of original color woodblock prints with woodcuts also on the front and rear crepe paper wrappers. English text with Japanese text on the inside front wrapper and on the colophon on the inside rear wrapper. Translated by David Thompson (also spelled Thomson) タビッドタムソン [ダビッド]. Japanese title is "Nezumi no Yomeiri." The text of the story continues onto a few of the woodcuts and there are no titles above them. The colophon lists the publisher's address in Japanese as 38 Honmura-cho, Yotsuya-ku, Tokyo-shi. A happy tale of the preparations leading up to, and the marriage of, two traditional Japanese mice. Charming woodcuts on durable crepe paper illustrate the many aspects of an arranged marriage between two mouse families, including detailed lists of presents exchanged. The remarkable crepe paper books published by Hasegawa were popular in the mid-1880s and their durability suited them to stories for children. The woodcuts were printed on special crepe paper (chirimen kami 縮緬紙) and then pressed and reduced numerous times before binding while still retaining their proportions. Toning stain to wrappers and pages, noticeably on front and inside front wrappers and first cho. .

Boston Book CompanyProfessional seller

Book number: 90874

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 7: The Old Man and the Devils 瘤�

Japanese Fairy Tale Series No. 7: The Old Man and the Devils 瘤å�– [Kobutori]. [Doctor Hepburn]ドクトルヘãƒoeン, translator. Tokyo. Meiji 19 [1886]. 18.2 x 12.2cm small book, bound Japanese style, fukuro-toji opens Western style. [9] cho with decorated wrappers in color, story ends on inside rear wrapper. Colophon in Japanese on the inside front wrapper gives the date Meiji 19 [1886]. Lively, full-color double-page and single-page original woodblock prints with text in English. Interestingly, the penultimate and final pages of text are reversed. Translated by Dr. James Curtis Hepburn, noted in colophon as ドクトルヘãƒoeン [Doctor Hepburn], a well-known scholar and missionary of the time who was stationed with his wife in Yokohama. He later became the president of Meiji Gakuin University in Tokyo. This is his single contribution to the Hasegawa publishing library. The Japanese title refers to the removal of the lump (kobu 瘤) on the face of an old man who falls asleep in the woods and awakes to a strange assembly of demons of all colors and shapes. Throwing caution to the wind he joins them and his reward is the removal of his lump. A neighbor with a similar lump tries to dance his way into the devils' good favor, but his dancing skills are subpar and he is not met with the same good luck. Slight chipping at corners with a small corner at top left front edge missing and front wrapper/ first cho is split. Name handwritten in pencil on top margin of first page of text. Colors and printing are good. An early, plain paper version of this fairy tale. Minami Saegicho address å�—ä½�柄æoe¨ç”º. .

Boston Book CompanyProfessional seller

Book number: 90875

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 15: My Lord Bag-O'-Rice [åoedå� 王堂]

Japanese Fairy Tale Series No. 15: My Lord Bag-O'-Rice [ÅOedÅ� 王堂]. Hasegawa TakejirÅ� é•·è°·å·�武次郎. B. H. Chamberlain, translator. Kobunsha. Tokyo. Meiji 20 [1887]. 18 x 12.3cm small book, bound Japanese style, fukuro-toji opens Western style. [9] cho with decorated wrappers in color, story end on inside rear wrapper. Front wrapper is also embossed. Colophon in Japanese on the inside front and rear wrappers give the date Meiji 20 [1887] and the Saegicho address å�—ä½�柄æoe¨ç”º. An early plain paper copy, with illustrations known to have been done by prominent artist and illustrator Suzuki Kason 鈴æoe¨è�¯é‚¨ (also Kwason, Kwasson). The intricate illustrations and English text depict a warrior known as My Lord Bag-O'-Rice, who is brave enough to rescue a dwarf and his entourage from a giant centipede. One of his rewards for vanquishing the creature in a very clever way, is a bottomless bag of rice, whence he got his name. Cover detached. Chipping at the bottom right corner of front wrapper and top corner of final two cho. Final cho is split. Overall toning. Good printing and color. .

Boston Book CompanyProfessional seller

Book number: 90876

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 11: The Hare of Inaba (Inaba No Shiro Usagi 因幡ã�®ç™½å-Ž)

Japanese Fairy Tale Series No. 11: The Hare of Inaba (Inaba no Shiro Usagi 因幡ã�®ç™½å-Ž). Mrs. T. H. James, translator. Hasegawa TakejirÅ� é•·è°·å·�武次郎, publisher for Kobunsha. Tokyo. Meiji 19 (1886). 18.2x12.3cm small book, bound Japanese style, fukuro-toji opens Western style. [7] cho with decorated wrappers. Illustrated with original woodblock prints, including lovely single and double page woodcuts, and told in English text. Inaba no Shiro Usagi 因幡ã�®ç™½å-Ž is the tale of a clever rabbit who tries to outwit crocodiles in the sea but is too proud for his own good and ends up in great pain, losing his fur. A lowly young prince comes to his aid and is duly rewarded. Wear to wrapper and initial pages and woodcuts. Spots of toning on some early pages and a corner of rear wrapper is missing. Handwritten name in pencil in top margin of first page of text. Otherwise strong colors and printing. The colophon lists the Hiyoshicho address, indicating a date between late 1890 and 1901. .

Boston Book CompanyProfessional seller

Book number: 90877

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 25. Chin Chin Kobakama

1903. Japanese Fairy Tale Series No. 25. Chin Chin Kobakama. Lafcadio Hearn, translator.T. Hasegawa (Hasegawa Takejir� 長谷�武次郎), publisher. Meiji 36 [1903]. 19.2 x 13.9cm crepe paper book, stab-bound Japanese style, fukuro-toji. [10] cho, including introductory notes by the translator. Colophon in Japanese on the inside rear wrapper with the date Meiji 36 [1903] gives the Hasegawa publisher address as 17 Kami Negishi. [10] pages with woodcuts on the front and rear inside wrappers. Colorful and detailed woodblock prints and English text throughout. Chin-Chin Kobakama is a cautionary tale of a lazy young woman who is taunted every night for her sloth by angry fairies who live within her tatami mats. It is a classic Japanese folklore tale, which has similar iterations with the same moral and ending, such as the additional [1] cho tale at the end, about a girl who hides her plum-stones in the tatami mats. This tale is illustrated with charming woodcuts of ladies in colorful kimono that dance across the final page over onto the rear inside wrapper. Wear and toning to wrappers with dirt staining on front cover, inside front cover and spots on a few pages. Front cho is nearly split and rear cho is split and detaching with rips at binding. Stain along side and top edges of final page. The letter 'E' is handwritten on the rear inside wrapper. A wonderful early printing. .

Boston Book CompanyProfessional seller

Book number: 90913

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 4 - the Old Man Who Made the Dead Trees Blossom [Hanasaki Jiji 花咲爺]

Japanese Fairy Tale Series No. 4 - The Old Man Who Made The Dead Trees Blossom [Hanasaki Jiji 花咲爺]. David Thompson, translator ダビッド タムソン. KÅ�bunsha 弧文社. Tokio [Tokyo]. Meiji 18 [1885]. 15 x 10cm small, crepe paper book, opens Western style. Perfect-bound with holes for sewing. [7] cho with story ending on the inside rear wrapper. Colophon on inside front wrapper gives the date Meiji 89 [1885]. This volume was published by the Hasegawa family when they were known as KÅ�bunsha, working from the address in Minami SaegichÅ� å�—ä½�柄æoe¨ç”º Tokyo, their first address. Lightly colored woodcut illustrations throughout with English text that tells the story of neighbors and rivals, one kind couple and one evil couple, and the fortunes of the former and demise of the latter that follow their actions. Binding and first cho are starting at top. Wear to wrappers with tears on front wrapper with spots of staining. .

Boston Book CompanyProfessional seller

Book number: 90922

Catalogue: Japan and East Asia

Japanese Fairy Tale Series No. 9: The Serpent with Eight Heads (Yamata No Orochi å-«é ­ãƒŽå¤§è›‡)

Japanese Fairy Tale Series No. 9: The Serpent with Eight Heads (Yamata No Orochi å-«é ­ãƒŽå¤§è›‡) . B. H. Chamberlain, translator. Kobunsha, publisher (Hasegawa TakejirÅ� é•·è°·å·�武次郎, publisher) . Tokyo. Meiji 19 [1886]. 15 x 10cm small, crepe paper book opens Western style and has decorated wrappers. Perfect-bound with holes for sewing. [12] cho. Front cover illustration of "The Serpent With Eight Heads" of the title wraps around to the back cover, revealing the tail of the beast. Front inside wrapper has a colophon in Japanese. List of first 12 titles in the fairy tale series in English on the inside rear cover. This volume was published by the Hasegawa family when they were known as KÅ�bunsha, working from the address in Minami SaegichÅ� å�—ä½�柄æoe¨ç”º Tokyo, their first address. Illustrated with original woodblock prints, including intricate double page woodcuts, and told in English text. Woodcuts are black and white with touches of color. This is the story of Shuten-dÅ�ji é-’å‘‘ç«¥å­�, a folklore about a demon leader who is killed on Mt. ÅOee (ÅOeeyama 大江山) outside Kyoto, at the hand of the great warrior Minamoto RaikÅ�. Binding is separated at top in the middle of the book. Wear and chipping to the front cover with stains on front and rear. Spots of stains on the first few pages. Otherwise woodcuts are in good condition with strong printing. .

Boston Book CompanyProfessional seller

Book number: 90924

Catalogue: Japan and East Asia