[Kakemono 掛�物 - Hanging Scroll] Tsuda Seifū 津田�楓, artist

Momohara" Landscape of a Mountain Stream, Dancing Cranes

1921. [Kakemono 掛ã�‘物 - Hanging Scroll] Tsuda SeifÅ« 津田é�’楓, artist "Momohara" Landscape of a Mountain Stream, Dancing Cranes TaishÅ� 10 [1921] Hanging scroll with the image size 135.2 X 33.4 cm. Beautifully mounted on brocade with bone jiku. The painting is signed and sealed by Tsuda SeifÅ« 津田é�’楓 (1880-1978), an extraordinarily influential artist and designer who not only painted in oils and in traditional watercolor on silk and paper, but also created designs and bookbindings. A protege of such masters as the designer Furuya KÅ�rin å�¤è°·ç´-é±— (1875-1910) and the author and poet Natsume SÅ�seki (1867-1916) and later an influence upon generations of creative artists, Tsuda SeifÅ« has here created a free and easy Nihonga work in color ink on silk, dated TaishÅ� 10 [1921] and sealed by him. Its eccentric spirit seems to have a touch of Tomioka Tessai å¯Oe岡鉄斎 (1836/7-1924) to it. Certainly they must have met, as SeifÅ« illustrated several design books with calligraphed encomia done by Tessai in the 1900s. It is also reminiscent of some of the book-bindings he was doing during the same period. The brushwork and calligraphy are first-rate and the presentation is impeccable. In a wooden box and worn outer cardboard slipcase with written title label. .

Boston Book CompanyProfessional seller

Book number: 87805

Catalogue: Japan and East Asia

Tani Bunch� 谷文�

Nihon Meisan Zue æ—¥æOe¬å��山図会 [Famous Mountains in Japan] 3 Vols

Nihon Meisan Zue æ—¥æoe¬å��山図会 [Famous Mountains in Japan] 3 Vols Tani BunchÅ� è°·æ–‡æ™� C. 1812 Suwaraya Mohei 須原屋èOe‚å-µè¡›, publisher Three 25.8 x 18.4cm ehon volumes are string-bound Japanese style, fukuro-toji with light blue wrappers and printed title slips in black on white. Vol 1 has 26 double page monochrome woodblock prints, Vol 2 has 30 and Vol 3 has 34, by artist Tani BunchÅ� (1763-1840). The work is well-known for its accurate representation of the mountains depicted. Each woodcut has the name of the mountain in Japanese text, some also have a river name or other geographical details in black or red. Vol 1 has Mizunoe-inu 壬æˆOe, the zodiacal year of the dog, indicating the year 1802 and the preface is dated the first year of Bunka, Bunka gannen æ–‡åOe–å-ƒå¹´ [1804]. Volume 3 has a date of Bunka gannen æ–‡åOe–å-ƒå¹´ [1804]. This edition is likely 1812, some eight years after the original edition. (See Mitchell p. 435 and Hillier p. 635-7. ) Wear and dust soiling to wrappers and chipping to spines and edges. Wear and small rips to title slips and rip to the top front wrapper of Vol 1. Writing in red on top right and a small label on bottom right of each front wrapper, with an additional label with the number "262" on Vol 1. .

Boston Book CompanyProfessional seller

Book number: 91007

Catalogue: Japan and East Asia

Tsuda SeifÅ« 津田é�’楓 and Asano KokÅ� æµ-野å�¤é¦™, artists

Ochigaki [Rakugaki] �柿

1906. Tsuda SeifÅ« 津田é�’楓 and Asano KokÅ� æµ-野å�¤é¦™, artists. Ochigaki [Rakugaki] è�½æŸ¿. Kyoto. UnsÅ�dÅ�. 芸è�‰å ‚. Meiji 39 [1906]. 2 orihon folding albums 24.6 x 17.8cm with original color woodblock-printed designs. Tsuda SeifÅ« 津田é�’楓 (1880-1978), in this early incarnation (he lived until 98), was one of the foremost designers of the Neo-Rimpa renaissance. During his long artistic career, he would contribute as a designer, as here, a Western-style painter in oil and watercolor, a book designer and a traditional Nihonga painter. Though very prolific, his early design works done for UnkindÅ� 雲éOe¦å ‚ and UnsÅ�dÅ� 芸è�‰å ‚ of Kyoto have rarely survived and thus are known primarily by rumor and by looking through old UnsÅ�dÅ� catalogs from the period. Here is a complete copy of one of those albums, "Fallen Persimmons," which he did in collaboration with fellow designer and friend Asano KokÅ� æµ-野å�¤é¦™, who would die young. There are 30 double-page designs printed and over-printed in saturated color and metallic inks. The volumes are in very clean shape, inside and out and the prints are extraordinary. A happy confluence of rarity and great beauty. .

Boston Book CompanyProfessional seller

Book number: 91003

Catalogue: Japan and East Asia

[EHON] Akatsuki Kanenari ���

Ogura Hyakushå« Ruidai Banashi å°�倉百首類é¡Oe話

1823. [EHON] Akatsuki Kanenari æš�é�˜æˆ� Ogura HyakushÅ« Ruidai Banashi å°�倉百首類é¡Oe話 Osaka: Kawachiya Heishichi, Bunsei 5 [1823] 25.2 x 17.7 cm. Original covers with printed paper title slips, bound into Duret collection brocade. Please refer to Hillier p.861, Toda/Ryerson p.285, Brown p.79 & Kerlen 515. An excellent example of this lovely book, important in its own right and by no means common. It records amusing poetic asides on the traditional 100 poet canon and is lavishly illustrated in Tempo^ era colors. Original covers, which have a bit of writing on the rear covers. One complete printed title label, one hand-brushed and one missing title label. Complete:. .

Boston Book CompanyProfessional seller

Book number: 90724

Catalogue: Japan and East Asia

Yamashita Keisuke 山下æ-¶åŠ©, artist

Posuta

1970. Yamashita Keisuke 山下æ-
¶ 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æ-
¶ 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 ÅOegai 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 å¾³å³
¶ çoeOe, and after attending Tokushima Commercial High School å¾³å³
¶ 商業, began working at Mainichi Shimbun Newspaper 毎日新è�ž 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 ã�²ã�¨ã‚Šã‚�ã�Oeã�›ã�‹ã�„ã�«ã�‚ã��ã�
¶ " [Playing Alone (in His Own World)]. Folder 1 都会äºOeé¡Oe・尋ã�­äººé 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 "ã�‘" (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æ­Oe・大ゲーテé 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' "æ-
¶ " 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ã€-ã�®ãƒ˜ãƒ‰ãƒ­ [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ã€-ã�®ãƒ˜ãƒ‰ãƒ­," [Divine Sediment] and the saying "一切ã�®ã�²ã�¨è¦‹ã‚�ã€�一人もã�¿ã‚‹ã�ª." 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 - å�¤è­šè�‰è©© [Kotan SÅ�shi]・丼魚é 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 - é-’嫣紫宴・饗宴篇・別冊é-’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é�’神死話 [Aka Kami Ao Kami Shibanashi]・ã�‚ã�„ã��ã‚„ã�†ä»– [AikyÅ�, 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 é�’神 死話 [Red God, Blue God, a Tale of Death.] A play on words, taken from Akaikami, Aoikami 赤紙é�’ç´™ (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 ã�“ã‚Oeã��ã�—ょん [Collection] Gallery Gohachi ギャラリーå�¾å-«, 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æ-
¶ 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 ã�“ã‚Oeã��ã�—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å�¾å-«, the important publisher/book purveyor of livre d'artiste, especially those produced by the Mingei 民芸 and Sosakau Hanga 創ä½oe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 siècle 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 çµµæoe¬ 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. .

Boston Book CompanyProfessional seller

Book number: 91035

Catalogue: Japan and East Asia

Nukada Hayashi �田�, author

Sangaku Shashin No Utsushi Kata 山岳写çoeŸã�®ã�†ã�¤ã�—æ–¹ [How to Shoot Mountain Photos]

Sangaku Shashin no Utsushi Kata 山岳写çoeŸã�®ã�†ã�¤ã�—æ–¹ [How to Shoot Mountain Photos] Nukada Hayashi é¡�ç”°æ•�, author Showa 7 昭å’Oe7 [1932] GenkÅ�sha (GKS) 玄å-‰ç¤¾, publisher Hardcover volume 19 x 13.5cm is bound western-style and opens Japanese style. Front cover is two-toned cloth binding (white/ gray-blue) while the rear cover is gray-blue with an embossed design of 2 offset squares with a small circle between them. Title in silver on binding. 294+pp. with photo illustrations and Japanese text throughout. Housed in a case 9.5 x 14cm with a design that incorporates title, author and publisher. Sangaku Shashin no Utsushi Kata 山岳写çoeŸã�®ã�†ã�¤ã�—æ–¹ [How to Shoot Mountain Photos] was written and photo illustrated by Nukada Hayashi é¡�ç”°æ•� (1892-1980). The book opens with a Title page followed by a Profile of the author, describing him as an alpinist, scientist and writer, traveling from research lab to mountain to lab again. A Preface by Toshio Fujishima è—¤å³
¶ æ•�ç”· follows, with continued preliminary text and then a Table of Contents on 11-18pp. Topics include: Photography Equipment 写çoeŸå™¨, Styles of Mountaineering and Camera Selection 登山ã�®å½¢å¼�ã�¨ã‚«ãƒ¡ãƒ©ã�®é�¸æŠž, Types and Characteristics of Cameras カメラã�®ç¨®é¡žã�¨ç‰¹å¾´, Lens Focus レンズã�®ç„¦ç‚¹, Lens Brightness レンズã�®æ˜Žã‚‹ã�•, Depth of Focus 焦点深度, Filters フィルター, and others. [18] pages of black and white photography of mountains numbered 1-40 with locations underneath are then followed by 294pp of text. On those pages with two photos, the photos are marked A and B. Colophon with a lavender and gray publisher's stamp and red hanko is laid down on the page facing the final page. [2]pp of publisher ads follow. Some dust staining to rear cover and rubbing at edges of covers. Unusual and important volume in the development of photography. .

Boston Book CompanyProfessional seller

Book number: 91059

Catalogue: Japan and East Asia

Eguchi Kiyoshi (Kan) 江�渙 and Kishi Yamaji 貴�山治, editors

Senki 36 Nin Shå« æˆ¦æ——36人集

Eguchi Kiyoshi (Kan) 江å�£æ¸™ and Kishi Yamaji è²´å�¸å±±æ²», editors. Senki 36 Nin ShÅ« 戦旗36人集. KaizÅ�sha 改造社.Tokyo. Showa 6 昭å’Oe2å¹´ [1931]. 19 x 13cm softcover book bound Western style opens Japanese style and has 488 pages of proletariat writing in Japanese text. Edited by novelist Eguchi Kiyoshi 江å�£æ¸™, later changed to Eguchi Kan, (1887-1975) and novelist and playwright Kishi Yamaji è²´å�¸å±±æ²» (1899 - 1973). Title page, with a red hanko and [3] page introduction by Eguchi dated 1930. A list of the 36 authors with the titles of their essays and poems follows on p. 5-8. Page numbers begin on page 5 and blank pages and title pages between essays are counted within the pagination but not numbered. There is sheet music for a song on p. 433. At the end of the book is a colophon with a laid-down seal in bright green and red and [3] pages of publisher book advertisements. Cover art is likely done by avant-garde artist and critic Murayama Tomoyoshi æ�‘山知義 (1901-1977). A compendium of essays and verse by authors who appeared in Senki 戦旗 magazine. Senki 戦旗 (The Battle Flag) was published at the end of the leftward drift of the avant-garde, when such artists, writers and critics as Yanase Masamu & Murayama Tomoyoshi [earlier both members of the MAVO movement] were leading the charge. Soon enough, as the troubles with China over Manchuria, North China and Shanghai came to dominate political discourse, they were silenced, jailed, or pushed aside. The magazine was published from 1928-1931. Cover has been repaired at binding with matching bookbinding tape on spine, overlapping onto front and rear wrappers, partially over title. Wear to wrappers with foxing to covers and throughout. Chipping at lower spine. Title is brushed on spine. .

Boston Book CompanyProfessional seller

Book number: 91014

Catalogue: Japan and East Asia

Tanaka T�shū 田中濤州, artist

Uchiwa-Chå� ã�†ã�¡ã�¯å¸–

Uchiwa-ch� ���帖 Tanaka T�shū 田中濤州, artist [大正15 1926] [Fan Design Album] A lovely example of the fan sample genre. 55 color woodblock printed square designs, each 23.5 x 23.5 cm, in ribbon-bound printed cardboard covers with a printed paper title label. The designs are by the designer, Tanaka T�shū 田中濤州, and the album seems to have been commissioned by him, as well. Bold designs, undated, but research gives the publication date as 大正15, 1926. In good condition overall. .

Boston Book CompanyProfessional seller

Book number: 89262

Catalogue: Japan and East Asia

Onchi KÅ�shirÅ� æ�©åoe°å­�四郎, Kawakami Sumio å·�上澄生, Maekawa Senpan å‰�æ�‘å�ƒå¸† et al, artists

Woodblock Print Calendar for 1937 - 12 Sheets

[Woodblock Print Calendar for 1937 - 12 sheets] Onchi KÅ�shirÅ� æ�©åoe°å­�四郎, Kawakami Sumio å·�上澄生, Maekawa Senpan å‰�æ�‘å�ƒå¸† et al, artists [Nihon Hanga KyÅ�kai æ—¥æoe¬ç‰ˆç”»å�”会 Japan Print Association] n.p. ShÅ�wa 12 昭å’Oe12å¹´ 1937 12 sheets 24.7 x 12.6cm each illustrating one month of the year ShÅ�wa 12 昭å’Oe12å¹´, 1937 in original color woodblock prints. Known to be published annually by the Nihon Hanga KyÅ�kai æ—¥æoe¬ç‰ˆç”»å�”会 (Japan Print Association), which issued calendars with the same format until at least ShÅ�wa 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 KyÅ�kai æ—¥æoe¬ç‰ˆç”»å�”会 Japan Print Association, still in existence today, was established in January 1931 when the Japan Creative Print Association SÅ�saku Hanga 創ä½oe版画 (formed in 1918) merged with the Western Print Association YÅ�fÅ« Hangakai 洋風版画会 (formed in 1929), attracting independent artists. January - Hiratsuka Un'ichi 平塚é�‹ä¸€ (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ã�¡å‡ºã�®å°�æ§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 å‰�田政雄. The artist's seal of 'un' é�‹ 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 å‰�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é�‹ä¸€, 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 åOe—æµ·é�“å-«æ™¯ [8 Views of Hokkaido]. His hanko seal of "masa" "政" is in Merritt p 294. March - Katsuhira Tokushi å‹�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" å¾— is in Merritt p.291. April - Onchi KÅ�shirÅ� æ�©åoe°å­�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ä¹-夢äºOe 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 SÅ�saku Hanga 創ä½oe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 SÅ�saku Hanga and founding member of Nihon Hanga KyÅ�kai. His work is collected by the British Museum; his hanko 'Takashi' 享 is within the artwork. June - Yamaguchi Susumu å±±å�£é€² (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 é»’ç”°æ¸-è¼� (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é�™é›„ (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) æoeˆæ˜  at Tokyo School of Art in about 1914-5. In 2019, the Fukuoka Art Museum ç¦�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 KyÅ�kai and contributed to numerous important works. His hanko 'S' is within the woodcut. August - The red flower illustrated by Azechi UmetarÅ� 畦åoe° æ¢-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 å°�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 SanjyÅ« Rokkei è�–å³°å¯Oe岳三å��å-­æ™¯. October - Shimozawa KihachirÅ� 下澤æoe¨é‰¢éƒŽ (1901-1986) was born Shimoyama KihachirÅ� 下山æoe¨é‰¢éƒŽ, 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 å‰�å·�å�ƒå¸† (1888-1960) was one of the most important of all the mid-century SÅ�saku Hanga 創ä½oe版画 Creative Print Movement artists. Senpan, whose penname was Sugimura KÅ�tarÅ� æ�‰æ�‘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 å·�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 SÅ�saku Hanga 創ä½oe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 SÅ�saku Hanga printmakers of the time. .

Boston Book CompanyProfessional seller

Book number: 91081

Catalogue: Japan and East Asia

Shirokiya Department Store 白æoe¨å±‹

[Design] [38 Covers from Ryå«Kå� Magazine æµ�è¡Oe]

1911. [38 covers from RyÅ«kÅ� Magazine æµ�è¡Oe] Shirokiya Department Store 白æoe¨å±‹ 1911 [Design] [38 covers from RyÅ«kÅ� Magazine æµ�è¡Oe]. Shirokiya Department Store 白æoe¨å±‹, Tokyo, 1911. TaishÅ� era design, done by the design staff, including Furuta Tachiji, of Shirokiya Department Store 白æoe¨å±‹ for this, their monthly magazine. A group of 38 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a repository of TaishÅ� chic design at its best. Save for the trimming and occasional foxing, in very good condition. .

Boston Book CompanyProfessional seller

Book number: 86927

Catalogue: Japan and East Asia

ÅOeoka Shumboku 大岡春æoe´, artistt

Minchå� Shiken 明æOe�紫硯 (Also Minchå� Seidå� Gaen 明æOe�生動画åoe’)

MinchÅ� Shiken 明æoe�紫硯 (also MinchÅ� SeidÅ� Gaen 明æoe�生動画åoe’) ÅOeoka Shumboku 大岡春æoe´, artist N.p. n.d. [Botanical, Ehon] 3 vols. 27.6 x 17.7 cm. string-bound Japanese-style fukuro toji. Cream paper covers with printed paper title labels. A reprint of the rare MinchÅ� SeidÅ� Gaen 明æoe�生動画åoe’ of 1746. This edition does not have its colophon, but is almost certainly later than the Hishiya Magobei edition of 1813. Though it does have the final "authentication" seal of the Bunka edition [see Mitchell example "B" p.416] According to Hillier [Vol.1 pp.206-7], the original outline blocks were employed with new color blocks. Though Hillier and Mitchell point out the diminished printing quality of later editions compared to the original, it should be noted that the original edition, one of the first color printed Japanese books, is a work of great rarity and beauty. The true Bunka edition that we have seen, usually dated to 1813, is still a lovely book with the use of bokashi and other techniques. The edition at hand here is further diminished, but, that said, it is still a lovely book and a very scarce one. [See Brown, pp.70-1] Also, it should be noted that the original edition only consisted of two volumes (the planned third volume did not appear.) The Bunka edition and later ones, like this, add that series of lovely images in a third volume, completing the original conception of the artist. The printing and colors are fairly good. Overall, good to very good condition, in a worn blue cloth chitsu clasped case [clasps missing] with the remains of a printed title slip matching those on the books themselves. All enclosed in a wooden box. Complete. .

Boston Book CompanyProfessional seller

Book number: 88041

Catalogue: Japan and East Asia

Akiyama, Terukazu; Soper, Alexander (translator)

Arts of China : Buddhist Cave Temples

1969. Akiyama, Terukazu; Soper, Alexander (translator) Arts of China: Buddhist Cave Temples. Kodansha America, NY, 1969. Fine folio buckram, very good dustwrapper. .

Boston Book CompanyProfessional seller

Book number: 78340

Catalogue: Japan and East Asia

AKIYAMA, Aisaburo

Brief History of Pictorial Japan

1916. AKIYAMA, Aisaburo. BRIEF HISTORY OF PICTORIAL JAPAN. Tokyo: A. Akiyama, 1916. 81 + 2 pp. 8vo. brown patterened cloth covered boards, bound with two leather thongs. Ink gift inscription to front flyleaf dated 1918. Light wear/fraying to spine, cloth chipped at spine 1/2 inch at crown. Bound Japanese (accordion) style). Light foxing to endpapers, interior clean. B/w halftone illustrations. Very good. .

Boston Book CompanyProfessional seller

Book number: 84941

Catalogue: Japan and East Asia

AKIYAMA, AISABURO

Chronological List of Japan and China

1964. AKIYAMA, Aisaburo. A CHRONOLOGICAL LIST OF JAPAN AND CHINA. New York: Paragon Book Reprint Company, 1964. Second edition. 12mo, stiff brown wrappers; 42pp. Fine. .

Boston Book CompanyProfessional seller

Book number: 34024

Catalogue: Japan and East Asia

[PHOTOGRAPHY - JAPANESE] TERAJIMA Akiyoshi

Terajima Akiyoshi - Sakuhinshu^

1979. [PHOTOGRAPHY - JAPANESE] TERAJIMA Akiyoshi. TERAJIMA AKIYOSHI - SAKUHINSHU. Tokyo, TB Design, 1979, oblong 8vo. Boards, in cardboard slipcase, one of 1000cc. Signed by Terajima. About fine. .

Boston Book CompanyProfessional seller

Book number: 83563

Catalogue: Japan and East Asia

Keywords: Photography